Performed by The Beatles. For voice(s), guitar(s), bass guitar, drum set and keyboard. Format: full score. With vocal melody, lyrics, standard guitar notation, guitar tablature, standard bass notation, bass tablature, chord names and drum notation. Classic rock, pop rock and psychedelic rock. Popular boxed gift set. Includes complete transcriptions of all instrumental and vocal parts. Series: Hal Leonard Transcribed Scores. 1136 pages. 7.25x10.88 inches. Published by Hal Leonard.

Composed by John Lennon and Paul McCartney. Arranged by Rick Stitzel. For Jazz Ensemble (Score & Parts). Easy Jazz Ensemble Series. Grade 2. Published by Hal Leonard

(Deluxe Score). Arranged by Bruce Healey. Symphony Pops. Grade 5-6. 87 pages. Published by Hal Leonard

By George Harrison, Paul McCartney, John Lennon. Arranged by Bruce Healey. (Score and Parts). Symphony Pops. Published by Hal Leonard.

By The Beatles. Arranged by Johnnie Vinson. For Concert Band (Score & Parts). Discovery Plus Concert Band. Grade 2. Published by Hal Leonard

Score and Parts. By The Beatles. Arranged by Henry Mancini. Henry Mancini Concert Library. Published by Hal Leonard (HL.4491294).

(Deluxe Score). By The Beatles. Arranged by Henry Mancini. For Full Orchestra. Henry Mancini Concert Library. 32 pages. Published by Hal Leonard

(NBC Sunday Night Football Theme). By Joan Jett, Desmond Child. Arranged by Tim Waters. (Score and Parts). Contemporary Marching Band. Published by Hal Leonard.

For voice. Format: vocal score (spiral bound). With vocal score and chord names. Gospel and Country. 9x12 inches. Published by Brentwood-Benson Music Publishing.
Clic k for Split Trax Cassette

For voice, guitar or piano. Album. Pop / Jazz. Score. Published by Editions Henry Lemoine

Concert Band/Harmonie - Grade 3

SKU: BT.1267-05-140-MS

Arranged by Peter Kleine Schaars. Peter's Popular Collection. Pop & Rock. Score Only. Composed 2005. 36 pages. Music Sales #1267-05-140 MS. Published by Music Sales (BT.1267-05-140-MS).

9x12 inches. English-German-French-Dut ch.

Ray Charles (1930-2004) was a multitalented and pioneering American pianist and soul singer who became very popular in the late fifties, and remained respected for his music in the decades that followed. By incorporating gospel, jazz, blues, and big band elements, he helped shape the sound of rhythm and blues, and brought a soulful sound to everything from country music to pop standards. Ray Charles embodied the American dream, starting out a poor, blind boy from the southern United States and becoming an international music phenomenon; his nickname was “the Genius” for a good reasonIn this arrangement for concert band, Peter Kleine Schaars presents five of the songs thatcontributed to Ray Charles’ fame: I Can’t Stop Loving You, Hit the Road Jack, Georgia on My Mind, Hallelujah I Love Her So, and Unchain My Heart.

Ray Charles (1930-2004) was een vernieuwend Amerikaans pianist en soulzanger die populair werd in de jaren vijftig en geliefd bleef in de decennia die volgden. Hij gaf mede vorm aan de sound van de rhythm & blues en hij gaf een soulachtigeklank aan alle muziek van country tot aan popstandards - waarin hij gospel, jazz, blues en bigband-elementen verwerkte. Dit arrangement bevat vijf van de songs die bijdroegen aan de roem van Ray Charles: I Can’t StopLoving You, Hit the Road Jack, Georgia on My Mind, Hallelujah I Love Her So en Unchain My Heart.

Ray Charles, dem Hollywood jüngst mit einer Oscar preisgekrönten Filmproduktion huldigte, ist die Verkörperung des amerikanischen Traums: Vom armen, blinden Jungen aus den Südstaaten wurde er zum internationalen musikalischen Phänomen; seinen Spitznamen Genie trug er völlig zu Recht. In dieser Bearbeitung für Blasorchester präsentiert Peter Kleine Schaars fünf der Lieder, die zu Ray Charles' Ruhm beitrugen.

RRay Charles (1930-2004) était un pianiste et un chanteur de soul américain l’esprit novateur et aux multiples talents. Il connut le succès dès la fin des années 1950 et son immense notoriété ne le quittera plus. En intégrant dans son jeu des éléments venus du gospel, du jazz, du blues et du big band, il a contribué la naissance et au développement du rhythm and blues et apporté une sonorité pleine de sensibilité tous les styles musicaux, de la musique country aux grands classiques de la musique pop. Ray Charles incarnait le rêve américain : musicien noir, aveugle, issu du milieu défavorisé du Sud des États-Unis, il accède au statut de phénomène musical dans le mondeentier. On ne l’a pas surnommé “the Genius” par hasard. Dans cet arrangement pour Orchestre d’Harmonie, Peter Kleine Schaars a rassemblé cinq titres emblématiques de Ray Charles : I Can’t Stop Loving You, Hit the Road Jack, Georgia on My Mind, Hallelujah I Love Her So et Unchain My Heart.

Ray Charles è un vero mito: cinque decenni di successi, una carriera eccezionale ricca di decine di successi che hanno fatto il giro del mondo diventando fonte di ispirazione per intere generazioni di giovani artisti. Soprannominato “The Genius”, questo pioniere del R&B e della soul music, cieco dall’et di sette anni, ha composto alcune delle canzoni memorabili della musica nera americana tra cui I Can’t Stop Loving You, Hit the Road Jack, Georgia on My Mind, Hallelujah I Love Her so e Unchain My Heart.

Concert Band/Harmonie - Grade 3

SKU: BT.1267-05-010-MS

Arranged by Peter Kleine Schaars. Peter's Popular Collection. Pop & Rock. Set (Score & Parts). Composed 2005. Music Sales #1267-05-010 MS. Published by Music Sales (BT.1267-05-010-MS).

9x12 inches. English-German-French-Dut ch.

Ray Charles (1930-2004) was a multitalented and pioneering American pianist and soul singer who became very popular in the late fifties, and remained respected for his music in the decades that followed. By incorporating gospel, jazz, blues, and big band elements, he helped shape the sound of rhythm and blues, and brought a soulful sound to everything from country music to pop standards. Ray Charles embodied the American dream, starting out a poor, blind boy from the southern United States and becoming an international music phenomenon; his nickname was “the Genius” for a good reasonIn this arrangement for concert band, Peter Kleine Schaars presents five of the songs thatcontributed to Ray Charles’ fame: I Can’t Stop Loving You, Hit the Road Jack, Georgia on My Mind, Hallelujah I Love Her So, and Unchain My Heart.

Ray Charles (1930-2004) was een vernieuwend Amerikaans pianist en soulzanger die populair werd in de jaren vijftig en geliefd bleef in de decennia die volgden. Hij gaf mede vorm aan de sound van de rhythm & blues en hij gaf een soulachtigeklank aan alle muziek van country tot aan popstandards - waarin hij gospel, jazz, blues en bigband-elementen verwerkte. Dit arrangement bevat vijf van de songs die bijdroegen aan de roem van Ray Charles: I Can’t StopLoving You, Hit the Road Jack, Georgia on My Mind, Hallelujah I Love Her So en Unchain My Heart.

In den fünfziger Jahren erlangte der Pianist und Soulsänger Ray Charles große, bis heute ungebrochene Popularität. In dieser Bearbeitung für Blasorchester präsentiert Peter Kleine Schaars fünf der Lieder, die wesentlich zu Ray Charles’ Ruhm beitrugen und auch heute noch ein hoch ansteckendes Soul-Fieber unter Musikern und Zuhörern auslösen können.

Ray Charles (1930-2004) était un pianiste et un chanteur de soul américain l’esprit novateur et aux multiples talents. Il connut le succès dès la fin des années 1950 et son immense notoriété ne le quittera plus. En intégrant dans son jeu des éléments venus du gospel, du jazz, du blues et du big band, il a contribué la naissance et au développement du rhythm and blues et apporté une sonorité pleine de sensibilité tous les styles musicaux, de la musique country aux grands classiques de la musique pop. Ray Charles incarnait le rêve américain : musicien noir, aveugle, issu du milieu défavorisé du Sud des États-Unis, il accède au statut de phénomène musical dans le mondeentier. On ne l’a pas surnommé “the Genius” par hasard. Dans cet arrangement pour Orchestre d’Harmonie, Peter Kleine Schaars a rassemblé cinq titres emblématiques de Ray Charles : I Can’t Stop Loving You, Hit the Road Jack, Georgia on My Mind, Hallelujah I Love Her So et Unchain My Heart.

Ray Charles è un vero mito: cinque decenni di successi, una carriera eccezionale ricca di decine di successi che hanno fatto il giro del mondo diventando fonte di ispirazione per intere generazioni di giovani artisti. Soprannominato “The Genius”, questo pioniere del R&B e della soul music, cieco dall’et di sette anni, ha composto alcune delle canzoni memorabili della musica nera americana tra cui I Can’t Stop Loving You, Hit the Road Jack, Georgia on My Mind, Hallelujah I Love Her so e Unchain My Heart.

By Johannes Brahms (1833-1897). Edited by Rogowoj, Sergej. This edition: paperbound. Secular choral music; Choral Collections for Mixed Choir. Score. 40 pages

This edition: paperback. Mixed Voices. Sacred, Choral Collection. Choral score. 256 pages. Published by Oxford University Press

Chamber Music Piano, soprano voice

SKU: PR.111402860

Composed by Stacy Garrop. Sws. [lengthy program note on page 2 of 111-40286]. Performance Score. 8 pages. Duration 6 minutes, 40 seconds. Theodore Presser Company #111-40286. Published by Theodore Presser Company (PR.111402860).

ISBN 9781491131992. UPC: 680160680610. 9 x 12 inches. English. Letter from Martin Ginsburg to his wife.

Powerfully poignant and equally tender, MY DEAREST RUTH is Garrop’s musical setting of thefinal love letter from Martin Ginsburg to his wife, the opera-loving Supreme Court Justice RuthBader Ginsburg, only days before Martin’s passing. Commissioned by the family to celebrateJustice Ginsburg’s 80th birthday, the work later became a highlight of the Cedille Records CD“Notorious RBG in Song.” MY DEAREST RUTH is a touching 6½-minute scene, touching in sound,deeply dramatic in meaning.

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Marimba, Oboe, Percussion 1, Percussion 2, Shaker, Snare Drum and more. - Grade 3

SKU: CF.CPS226

Composed by Carol Brittin Chambers. Concert Band (CPS). Set of Score and Parts. With Standard notation. 16+4+8+16+16+4+4+4+4+4+4+ 8+8+8+4+4+6+6+6+8+2+2+2+6 +12+24+4 pages. Duration 3 minutes, 55 seconds. Carl Fischer Music #CPS226. Published by Carl Fischer Music (CF.CPS226).

ISBN 9781491152522. UPC: 680160910021.

Inspi red by the memory of an influential music educator, Carol Brittin Chambers has woven a multitude of grooves, colors, and uplifting themes into To Create a Voice. Chambers has attempted to convey distinct moods and emotions that this educator tried to instill in his students. In honor of this dynamic teacher, you will hear Hot Cross Buns cleverly placed throughout the composition.
To Create a Voice was commissioned by the Valley Concert Band in Stockton, California. The piece premiered in October 2017, in memory and celebration of Chris Anderson, a local musician and educator.When writing this piece, I tried to convey certain moods and emotions throughout: soulful at the beginning with calm woodwind chords and solo trombone; increased energy throughout the various sections of the piece; exploration of different grooves and colors; an uplifting, emotional ending that leaves the listener with a sense of how positive and loving Chris was.This piece is largely inspired by a specific quote from Chris:Most people would consider the sounds students first make on their instruments to be cringe-worthy, but to me that’s music to my ears, because that’s the first time students put a voice to their instrument. Over time those voices become stronger; they become clear, more confident, and get to a point where they use those voices to communicate with each other, and to their audiences.To relate to the first notes on the instrument idea, I used motifs based on the first notes most beginners ever play, do-re-mi, which are introduced at the beginning of the piece with the trombone solo, Chris’ instrument. During the section at m. 15, the brass introduce a chorale that I named Chris’ Theme while the woodwinds keep reminding us of do-re-mi. Later in the piece (mm. 71 and 79), I use these notes again, but in reverse, which becomes a reference to the first song most beginners learn, Hot Cross Buns. This section is also meant to portray Chris’ quirky and joking side. In mm. 75 and 83, Chris’ Theme presents itself again a couple of times in response to Hot Cross Buns.Toward the end, at the uplifting moment (m. 97), do-re-mi is heard again, but this time in harmony with mi-fa-sol. This represents the ultimate satisfaction we all feel as musicians when we have finally progressed enough to play in harmony with others. The half-time feeling in 3 at that moment also has significance, relating (rhythmically) to those important three notes again.I really hope you enjoy performing and listening to this piece as much as I have enjoyed creating it!

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Marimba, Oboe, Percussion 1, Percussion 2, Shaker, Snare Drum and more. - Grade 3

SKU: CF.CPS226F

Composed by Carol Brittin Chambers. Concert Band (CPS). Full score. With Standard notation. 24 pages. Carl Fischer Music #CPS226F. Published by Carl Fischer Music (CF.CPS226F).

ISBN 9781491153208. UPC: 680160910700.

Inspi red by the memory of an influential music educator, Carol Brittin Chambers has woven a multitude of grooves, colors, and uplifting themes into To Create a Voice. Chambers has attempted to convey distinct moods and emotions that this educator tried to instill in his students. In honor of this dynamic teacher, you will hear Hot Cross Buns cleverly placed throughout the composition.
To Create a Voice was commissioned by the Valley Concert Band in Stockton, California. The piece premiered in October 2017, in memory and celebration of Chris Anderson, a local musician and educator.When writing this piece, I tried to convey certain moods and emotions throughout: soulful at the beginning with calm woodwind chords and solo trombone; increased energy throughout the various sections of the piece; exploration of different grooves and colors; an uplifting, emotional ending that leaves the listener with a sense of how positive and loving Chris was.This piece is largely inspired by a specific quote from Chris:Most people would consider the sounds students first make on their instruments to be cringe-worthy, but to me that’s music to my ears, because that’s the first time students put a voice to their instrument. Over time those voices become stronger; they become clear, more confident, and get to a point where they use those voices to communicate with each other, and to their audiences.To relate to the first notes on the instrument idea, I used motifs based on the first notes most beginners ever play, do-re-mi, which are introduced at the beginning of the piece with the trombone solo, Chris’ instrument. During the section at m. 15, the brass introduce a chorale that I named Chris’ Theme while the woodwinds keep reminding us of do-re-mi. Later in the piece (mm. 71 and 79), I use these notes again, but in reverse, which becomes a reference to the first song most beginners learn, Hot Cross Buns. This section is also meant to portray Chris’ quirky and joking side. In mm. 75 and 83, Chris’ Theme presents itself again a couple of times in response to Hot Cross Buns.Toward the end, at the uplifting moment (m. 97), do-re-mi is heard again, but this time in harmony with mi-fa-sol. This represents the ultimate satisfaction we all feel as musicians when we have finally progressed enough to play in harmony with others. The half-time feeling in 3 at that moment also has significance, relating (rhythmically) to those important three notes again.I really hope you enjoy performing and listening to this piece as much as I have enjoyed creating it!

Chamber Music Violin, cello, Piano

SKU: PR.114418250

Composed by Stacy Garrop. Contemporary. Set of Score and Parts. With Standard notation. Composed 2013. 40+16+16 pages. Duration 23 minutes. Theodore Presser Company #114-41825. Published by Theodore Presser Company (PR.114418250).

UPC: 680160640959. 9 x 12 inches.

In 2011, Barbara Garrop, my mother, commissioned me to write a piano trio in memory of Norman Garrop, my father, who passed away about thirty years ago. When I started brainstorming about topics for the piece, I found it difficult to recall many moments of my early life involving my father. Too many years had passed, and the memories that I could summon were of achild looking up to her father, not an adult relating to an equal. However, while collecting stories of my father from various family members, along with discovering a number of objects that had once belonged to him and that I had stored away in boxes decades ago, I began to realize that this piece wasn't so much about my father as it was about my re-discovering the man that he was: a loving husband and dad who cared deeply about his family and his passions (which included bike riding, collecting coins, strumming our guitar, playing baseball, watching football games, entertaining people, helping to run local theater and puppet productions, and carving objects out of wook); an accountant who dreamed of a better future: a treasurer of our local synagogue; an early advocate for computers (we owned an Apple II+); and a pranster with a great sense of humor. Ultimately, I decided to musically tell the story of my search for these memories. In the first movement (Without), a child calls out in a sing-song voice, searching for her lost parent. This search intesifies over the course of the movement through a series of themes, including a stepping motif in which a two-note progression steadily climbs higher, a pseudo-jewish folksong, and a passionate longing theme. The child's search becomes increasingly intense throughout the movement, calling out fervently and repeatedly to the parent; the movement ends in a moment of great tnesion and uncertainty. The second movment (Within) quietly opens with the lost parent finally answering, represented by a solo cello; the child (now personified by the violin) has found the parent within the sanctuary of her own heart. This movement highlights the joy and solemnity of this beautiful discovery. -S.G.

Chamber Music Violin, cello, Piano

SKU: PR.11441825S

Composed by Stacy Garrop. Contemporary. Score. With Standard notation. Composed 2013. 40 pages. Duration 23 minutes. Theodore Presser Company #114-41825S. Published by Theodore Presser Company (PR.11441825S).

UPC: 680160643745. 9 x 12 inches.

In 2011, Barbara Garrop, my mother, commissioned me to write a piano trio in memory of Norman Garrop, my father, who passed away about thirty years ago. When I started brainstorming about topics for the piece, I found it difficult to recall many moments of my early life involving my father. Too many years had passed, and the memories that I could summon were of achild looking up to her father, not an adult relating to an equal. However, while collecting stories of my father from various family members, along with discovering a number of objects that had once belonged to him and that I had stored away in boxes decades ago, I began to realize that this piece wasn't so much about my father as it was about my re-discovering the man that he was: a loving husband and dad who cared deeply about his family and his passions (which included bike riding, collecting coins, strumming our guitar, playing baseball, watching football games, entertaining people, helping to run local theater and puppet productions, and carving objects out of wook); an accountant who dreamed of a better future: a treasurer of our local synagogue; an early advocate for computers (we owned an Apple II+); and a pranster with a great sense of humor. Ultimately, I decided to musically tell the story of my search for these memories. In the first movement (Without), a child calls out in a sing-song voice, searching for her lost parent. This search intesifies over the course of the movement through a series of themes, including a stepping motif in which a two-note progression steadily climbs higher, a pseudo-jewish folksong, and a passionate longing theme. The child's search becomes increasingly intense throughout the movement, calling out fervently and repeatedly to the parent; the movement ends in a moment of great tnesion and uncertainty. The second movment (Within) quietly opens with the lost parent finally answering, represented by a solo cello; the child (now personified by the violin) has found the parent within the sanctuary of her own heart. This movement highlights the joy and solemnity of this beautiful discovery. -S.G.