For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, lyrics, piano accompaniment, chord names and leadsheet notation. Hymn. Series: Hal Leonard Fake Books. 494 pages. 9x12 inches. Published by Hal Leonard.

(Piano/Vocal/Guitar). For Guitar; Keyboard; Piano; Voice. This edition: Piano/Vocal/Guitar. Book; P/V/C Mixed Folio; Piano/Vocal/Chords. The Giant Sheet Music Collection. Contemporary Christian; Sacred. 244 pages. Published by Alfred Music Publishing

Performed by Roy Orbison. For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. Rock 'n' roll and rockabilly. 176 pages. 9x12 inches. Published by Hal Leonard.

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 3.5

SKU: CF.CAS110

Composed by Peter Ilyich Tchaikovsky. Arranged by Bud Caputo. Concert String Orchestra (CAS). Set of Score and Parts. With Standard notation. 24+24+6+15+15+15+7+24 pages. Duration 5:57. Carl Fischer Music #CAS110. Published by Carl Fischer Music (CF.CAS110).

ISBN 9781491151297. UPC: 680160908790. 9 x 12 inches. Key: E minor.

Bud Caputo presents Nutcracker Suite Selections for string orchestra featuring three abridged movements of?Tchaikovsky's Nutcracker Suite:?Dance of the Sugar Plum Fairy, March, and Trepak. These abridged movements are sure to be crowd-pleasers around the?winter holidays or a favorite for?any time of the year.
This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va< span class=s4> passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble..
This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va< span class=s4> passages, allowing intermediate groups to perform this in time for the winter holiday concert.A Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm.A 16-19, in the Basses and m.A 34A in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandosA in this movement. March: A Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-restA figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement toA accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: A Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble..
This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va< span class=s4> passages, allowing intermediate groups to perform this in time for the winter holiday concert.A Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm.A 16-19, in the Basses and m.A 34A in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandosA in this movement. March: A Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-restA figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement toA accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: A Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble..
This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va< span class=s4> passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble..
This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.
This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert.  Suitable for Grades 3 through 5.To the Director:Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March:  Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest  figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak:  Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.

About Carl Fischer Concert String Orchestra Series

Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

Joplin's Entertainer for Alto Sax and Piano composed by Scott Joplin (1868-1917). Arranged by Tony Santorella. For alto sax solo and piano accompaniment. Solo with Accompaniment. Ragtime. Score and solo part. Text Language: English. 12 pages. Published by Santorella Publications

Joplin's Entertainer for Flute and Piano composed by Scott Joplin (1868-1917). Arranged by Tony Santorella. For flute solo and piano accompaniment. Solo with Accompaniment. Ragtime. Score and solo part. Text Language: English. 12 pages. Published by Santorella Publications

Joplin's Entertainer for Trumpet and Piano composed by Scott Joplin (1868-1917). Arranged by Tony Santorella. For trumpet solo and piano accompaniment. Solo with Accompaniment. Ragtime. Score and solo part. Text Language: English. 12 pages. Published by Santorella Publications

Set of Accompaniment CDs. Composed by Various. Vocal Collection. Broadway, Musicals. CD. 8 pages. Published by Hal Leonard (HL.259862).

Bach's Two Minuets for Alto Sax and Piano composed by Jonathon Robbins. For alto sax solo and piano accompaniment. Solo with Accompaniment. Classical. Score and solo part. Text Language: English. 8 pages. Published by Santorella Publications

Bach's Two Minuets for Trumpet and Piano composed by Jonathon Robbins. For trumpet solo and piano accompaniment. Solo with Accompaniment. Classical. Score and solo part. Text Language: English. 8 pages. Published by Santorella Publications

By George Frideric Handel ; Donald Burrows (Editor). For Soprano, Tenor, Bass, SATB Choir, Piano Accompaniment. Baroque. Sheet Music. 168 pages. Published by Novello and Co Ltd.

By James Power. For Piano. Classical, Folk, Jazz. Sheet Music. 32 pages. Published by Chester Music.

Piano (SAB) SKU: HU.F0571521916 Arranged by Alexander L'Estrange. Choral. Choral Basics. The Gospel Train. Softcover Book. 24 pages. Faber Music #F0571521916. Published by Faber Music

Flight of The Bumblebee for Alto Sax and Piano composed by Nikolay Andreyevich Rimsky-Korsakov (1844-1908). Arranged by Jonathon Robbins. For alto sax solo and piano accompaniment. Solo with Accompaniment. Classical. Score and solo part. Text Language: English. 8 pages. Published by Santorella Publications

Flight of The Bumblebee for Trumpet and Piano composed by Nikolay Andreyevich Rimsky-Korsakov (1844-1908). Arranged by Jonathon Robbins. For trumpet solo and piano accompaniment. Solo with Accompaniment. Classical. Score and solo part. Text Language: English. 8 pages. Published by Santorella Publications

Composed by Anthony Newley, Leslie Bricusse. For voice and piano. From the Broadway musical. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics and chord names. Broadway and Vocal Standards. Series: Hal Leonard Richmond Music. 46 pages. 9x12 inches. Published by Hal Leonard.

Choral (Preview CD)

SKU: HL.118843

A Musical for Young Voices. Composed by John Higgins and John Jacobson. ExpressiveArts. Christmas, Elementary, Holiday, Musicals, Secular. CD only. Published by Hal Leonard (HL.118843).

ISBN 9781480340404. UPC: 884088902384. 5x5 inches. John Jacobson/John Higgins.

Please Santa, bring a puppy this time. I know there's one that needs me! Singing children, howling puppies and the one and only Santa Claus make a great combination for a holiday show. The local pound is overcrowded and in an uproar. Someone has eaten Buster Bulldog's supper, Harold Hound Dog can't get any sleep, and there's no room at all to run and play. It's just the pits in the pound! See how one family's trip to the pound on Christmas Eve makes dreams come true for these canine characters and children around the world. With a message of sharing, caring and plenty of canine humor, this holiday musical features five original songs and easy-to-learn rhyming dialog with over 30 speaking parts. The ENHANCED Teacher Edition with Singer CD-ROM includes piano/vocal arrangements with choreography, helpful production guide with staging and costume suggestions, teaching objectives linked to the National Standards for each song, PLUS reproducible singer parts on the enclosed CD-ROM. Available separately: Teacher/Singer CD-ROM, Preview CD (with vocals & dialog), Preview Pak (1 Preview CD and sample pages), Performance/Accompaniment CD, and Classroom Kit (Teacher/Singer CD-ROM and P/A CD).Approximate Performance Time: 20 minutes. Suggested for grades K-3.

By Nikolay Andreyevich Rimsky-Korsakov. Arranged by Jonathon Robbins. For Piano. Published by Santorella Publications.

By Nikolay Andreyevich Rimsky-Korsakov. Arranged by Jonathon Robbins. For Flute. Published by Santorella Publications.

Composed by Andy Fisher. Octavo for SAB choir and piano accompaniment. Series: Choral Octavo. 12 pages. Published by Alfred Publishing.

By Andy Beck, Brian Fisher. Octavo for SATB choir and piano accompaniment. Series: Choral Octavo. 12 pages. Published by Alfred Publishing.

Composed by Jean Sibelius (1865-1957). Arranged by Ralph Sauer. Finnish National. Solo part and piano accompaniment. Published by Cherry Classics (CY.CC2907).

(With marked and unmarked string parts). By Gabriel Faur̩ and Gabriel Faur. Edited by Fabian Kolb. For Violin, Piano Accompaniment (Score and Parts). Henle Music Folios. Softcover. G. Henle #HN980. Published by G. Henle