By David Rubenstein. For flute and alto saxophone. Level 2. Published by Imagine Music

By Judith Katz. For flute quartet. Level 3. Duration 2 minutes 10 seconds. Published by Imagine Music

(Solemn March). By Richard Wagner (1813-1883). Arranged by Bill Schuetter. For trombone quartet. Level 3. Duration 3 minutes. Published by Imagine Music

By Sir Hamilton Harty. Arranged by Bill Schuetter. For horn quartet, snare drum (opt) (4 horns, optional snare drum). Level 4. Duration 20 seconds. Published by Imagine Music

By Daniel Baldwin. For bassoon and piano. Level 3-4. Published by Imagine Music

(I Am the Resurrection and the Life). By Orlando De Lassus. Arranged by Bill Schuetter. For string trio (violin, viola, cello). Level 3. Duration 2 minutes 45 seconds. Published by Imagine Music

(Madrigal: the Lovely Flowers - 1549). By Giovanni Pierluigi da Palestrina (1525-1594). Arranged by Bill Schuetter. For string quartet. Level 3. Duration 1 minute 40 seconds. Published by Imagine Music

(Transcribed From Piano Piece). By Claude Debussy (1862-1918). Arranged by Bill Schuetter. For woodwind quintet. Level 4. Duration 4 minutes. Published by Imagine Music

(#50 From Messiah). By George Frideric Handel (1685-1759). Arranged by Bill Schuetter. For flute, oboe duet. Level 3+. Duration 1 minute. Published by Imagine Music

(You Are Just, O Lord). By Orlando De Lassus. Arranged by Bill Schuetter. For flute trio. Level 3. Duration 1 minute 30 seconds. Published by Imagine Music

(After Music of Francois Couperin). By Hector Berlioz (1803-1869). Arranged by Bill Schuetter. For flute trio. Level 3. Duration 1 minute 35 seconds. Published by Imagine Music

(Jaegerchor From Act III). By Carl Maria von Weber (1786-1826) and Carl Maria von Weber (1786-1826). Arranged by Bill Schuetter. For horn quartet. Level 4. Duration 2 minutes 30 seconds. Published by Imagine Music

By Judith Katz. For flute trio. Level 3. Duration 2 minutes. Published by Imagine Music

By Daniel Baldwin. For contrabassoon and piano. Level 5. Duration 5 minutes. Published by Imagine Music

Piano - intermediate

SKU: BT.WA-4096-401

Composed by Edward Elgar. Arranged by Thomas A. Johnson. The Walsh Collection. Educational Tool. Book Only. 4 pages. The Walsh Collection #WA 4096-401. Published by The Walsh Collection (BT.WA-4096-401).

English.

This movement from the Énigma Variations' contains some of the most moving and passionate music that Elgar wrote. This is a fantastic arrangement for piano.

Guitar

SKU: IG.GMF201

Composed by Thomas Stief. Score. Imagine Music Publishing #GMF201. Published by Imagine Music Publishing (IG.GMF201).

9 x 12 inches.

Piano Solo

SKU: IG.PFF211

Composed by Kenneth Piotrowski. Score and Parts. Imagine Music Publishing #PFF211. Published by Imagine Music Publishing (IG.PFF211).

9 x 12 inches.

I was asked awhile ago to write a composition that not only laid well under the hands but was also of intermediate/advanced student level difficulty and suitable for concert performances. My initial thought was, 'impossible.' However, after careful consideration, I finally decided that it could be done.

Very few teachers and performers of keyboard instruments realize that C major is the most difficult key to play. In fact, the more of the five 'black' keys employed, the easier the composition. This is due to the natural position of the hand and length of the fingers. In the end, the key of E-flat major with its relative minor of C-minor was chosen with a brief foray into the realm of E-flat minor. The end result was this effervescent and intoxicating waltz.

Once mastered, this composition nearly plays itself and can then be utilized as a show-stopping encore.

Piano solo - Grade 5

SKU: IG.PMW121

Composed by Jianjun He. Score. Duration 8 minutes. Imagine Music Publishing #PMW121. Published by Imagine Music Publishing (IG.PMW121).

9 x 12 in inches.

For Piano Solo. By Jianjun He. Synthesizing Western compositional techniques with Chinese musical elements, Fantasy for Piano shows the fusion of different cultures and the diversity of today's music. There are two main melodic ideas: one uses a whole-tone scale, somewhat related to the folk music of Ningxia, my home province in northwest China; the other, with its shifting major and minor thirds, shows a connection toWestern tonal music. The piece is roughly in three-part form: fast-slow-fast. Although the last part is derived from the first, each of the three has its own characteristics, while the entire piece is unified by the two melodic ideas described above. Fantasy for Piano is available on the VMM (Vienna Modern Masters) label recorded by Jeffrey Jacob.

Piano solo

SKU: IG.PFS141

Composed by Daniel Burwasser. Score. Imagine Music Publishing #PFS141. Published by Imagine Music Publishing (IG.PFS141).

9 x 12 in inches.

Composed in 2012, these short piano compositions are intended for beginner through intermediate beginner levels. They are written using a variety of harmonic flavors such as modality, diatonicism, and free dissonance. These pieces can be played individually or preferably, as a set. Each work contains a descriptive title depicting a different mood or scene. From the first modal piece, Strolling Along to the wrapping notes of Raindrops, to the intense dissonances of Summer Storm and The Man at The Gate, there is something for everyone in this fun collection of short pieces. The composer would like to thank JungEun Hong for her editorial assistance in preparing these pieces for publication.

Piano

SKU: BT.MV00000136

Songbook . Music Vault #MV00000136. Published by Music Vault (BT.MV00000136).

Piano solo - Grade 2

SKU: IG.PMS121

Composed by Peter Nostrand. Score. Duration 3 minutes, 35 seconds. Imagine Music Publishing #PMS121. Published by Imagine Music Publishing (IG.PMS121).

9 x 12 in inches.

Innocence is available for either piano solo or piano and chamber accompaniment (flute, clarinet, first and second violins, viola and cello). It is a good learning tool for aspiring musicians at or above a beginner's level.

Technically , the piece contains several tertian harmonies and simple flares of credenza-like complexities. The form is a through composed inspiration that later becomes more refined in terms of symmetry and balance. Less technically described, Innocence was written to demonstrate the differences and the compatibility between traditional and untraditional harmonic development. Students will or should recognize the two different approaches.

In the most traditional approach, the listener is typically able to predict how the melody will unfold. It is like a journey down a road where the passengers can see all the straight-aways and turns ahead. Innocence , however, while never discarding or disrespecting musical grammar, is occasionally innocently twisted to hijack the listener into gently surprising and unanticipated turns. It is a good learning tool to point out the different approaches to composition. It is also simply a fun and entertaining piece in and of itself.