Aaron Hettinga

Aaron Hettinga

Here's a fun and easily accessible arrangement of the holiday classic “Feliz Navidad” for Trombone duet. Both parts remain active throughout. The melody stays with the first part while the second part keeps interesting, at times with rhythmic accompaniment and at other times in direct harmony. This will work well with young players on either part.

Scored for 2 Tenor Trombones, Bass Trombone will work just fine on the second part as well, though nothing goes higher than the D above middle C, nor below the G at the bottom of the staff.

A great option for beginning players to enjoy playing Christmas music as duet partners!

My Favorite Things – inspired by Kelly Clarkson and arranged for 3 Horns and Rhythm Section  Set in the original key of Em.  Also note that the string parts are optional and the keyboard part only has chord symbols.  A synth/String Reduction part is included that covers all the string parts. This is fairly easy to play though it sounds tougher on the recording. 

Also available with accompaniments for 5 Brass and Full Big Band

Lead Sheet with Piano Intro and chords for the Kari Jobe / Brooklyn Tabernacle Choir song. Key of G.

This A Cappella performance by the Gatlin Brothers is presented here for trombone trio or quartet. As the Gatlin Brothers are a vocal trio, playing this arrangement without the 4th part will still remain faithful to the original performances.

Performance notes - Range: On the top end, the first part goes as high as an A-flat above the staff and the bottom part has an optional pedal A-flat as well. None of these parts present great technical challenges but present an opportunity to display ensemble section playing.

A great option for a reflective moment when used in a worship setting.

A full little tune from the Beatles’ Double-EP "Magical Mystery Tour" shows up here for 5 brass. The form and character of the original recording is generally fairly closely followed. Each instrument part gets a chance to play the melody (or interesting harmony line) for a little while to keep things interesting for all. The “stop-time” verse for the Tuba solo is a fun change-up!

Difficulty: for the most part, things don’t get very range-y other than a couple notes for the trombonist up to a high A. Otherwise, most everyone has a bit of syncopation and moving notes during their run at the melody and a fair amount of lite accompaniment otherwise. A fun lesser-known tune from the Fab Four for your quintet setlist!

Here's a fun arrangement of the traditional spiritual for Saxophone ensemble that is always well received. The melody gets passed around between the various parts of the ensemble and there's some tasty soli sections as well. A great option for those wanting a swing-band type of chart on a Sax Quintet’s program.

Scored for 2 Altos, 2 Tenors and 1 Bari Sax, the Bari gets first crack at the melody with some space for light ad-libbing around the melody before taking on a walking bass role afterward. After an improv solo opportunity for the Lead Alto, there’s a section labeled “EXTREMELY Laid Back” featuring a large shift in rhythmic and harmonic density that works best when observing the wide dynamic variations, playing really light and easy before cranking out the accented off-beat hits and coming right back down before wrapping it all up at the ending.

This chart works well with an advancing ensemble. There’s also the opportunity to keep all players focused on ensemble playing.

Also available for Mixed Brass Ensemble or Trombone Choir

This Ira Stanphill gospel standard is presented here as a feature for a Baritone or Bass vocal soloist backed with a TTBB Gospel Chorus (or Quartet) and Piano/Rhythm section Accompaniment.

Rhythm section parts are included for Piano Accompaniment, Guitar, Bass and Drums. Vocal octavo is sold separately.

Performance option: The A Cappella introduction can be bypassed if desired, making for a fully up-tempo gospel swing tune. A fine addition to any worship or song service!

Full package including Vocals, Rhtyhm Section and Lead Sheet available here

This Ira Stanphill gospel standard is presented here as a feature for a Baritone or Bass vocal soloist backed with a TTBB Gospel Chorus (or Quartet) and Piano Accompaniment. Optional rhythm section parts are available separately for Piano, Guitar, Bass and Drums.

After an A Cappella, free rubato intro, things kick off at a livelier tempo in a style inspired by recordings by The Oak Ridge Boys over the years. None of the parts are very difficult or range-intensive: the high tenor only goes as high as a G above the bass clef and the Bass line hovers around the G at the bottom of the staff with some optional low D’s and C’s.

Included parts: this package contains the Choral Octavo part only, showing the Vocal Solo, TTBB Backing Vocals, and piano accompaniment.

Performance option: The A Cappella introduction can be bypassed if desired, making for a fully up-tempo gospel swing tune. A fine addition to any worship or song service!

Full package including Vocals, Rhtyhm Section and Lead Sheet available here

This Ira Stanphill gospel standard is presented here as a feature for a Baritone or Bass vocal soloist backed with a TTBB Gospel Chorus (or Quartet) and Piano Accompaniment. Optional rhythm section parts are included for Guitar, Bass and Drums.

After an A Cappella, free rubato intro, things kick off at a livelier tempo in a style inspired by recordings by The Oak Ridge Boys over the years. None of the parts are very difficult or range-intensive: the high tenor only goes as high as a G above the bass clef and the Bass line hovers around the G at the bottom of the staff with some optional low D’s and C’s.

Included parts: there is a fully notated piano accompaniment part both freestanding and with Piano/Vocals/Chord symbols as well as with the TTBB vocals. An additional full vocal score is provided as is a free-standing TTBB vocal part. A single-line vocal solo lead sheet is also included giving many options for what’s best for your performers to use.

Performance option: The A Cappella introduction can be bypassed if desired, making for a fully up-tempo gospel swing tune. A fine addition to any worship or song service!

GENTRI version of the Beatles Classic for TTT (Trio of Tenors) in the key of C. Parts include piano with vocals, vocals, piano, bass, drums and score.

The highest tenor part requires a high A while the other two parts get up to an F.

This is a TTBB Gospel Chorus (or Quartet) with Piano Accompaniment of the hymn "I Love To Tell The Story" in a style much like was recorded by The Oak Ridge Boys on their album “Revival.” None of the parts are very difficult range-intensive, the high tenor only goes as high as an F above the bass clef and the Bass line hovers around the F at the bottom of the staff with an optional low C.

Included parts: there is a fully notated piano accompaniment part with Piano/Vocals/Chord symbols as well as a free-standing TTBB vocal part.

Performance option: This is written with a repeat back to the introduction for the second verse. This can be done with the full ensemble or could make for an opportunity for a soloist until the refrain. A fine addition to any worship service!

This setting of George Bernard's Classic Hymn, "Old Rugged Cross," for String quartet takes a completely new approach harmonically in this arrangement. While the famous melody in the 1st Violin has a few added embellishments, the rest of the ensemble joins with tighter jazz-influenced harmony.

A reflective approach to this piece of music would be extremely rewarding in a worship setting when used either as an offertory or as a lead-in to a music set. While none of the individual parts are particularly challenging, it will still be an exercise in balanced small ensemble playing.

Also available for Trombone Ensemble

This setting of George Bernard's Classic Hymn, "Old Rugged Cross," for Clarinet quartet/choir takes a completely new approach harmonically in this arrangement. While the famous melody in the 1st clarinet has a few added embellishments, the rest of the ensemble joins with tighter jazz-influenced harmony.

A reflective approach to this piece of music would be extremely rewarding in a worship setting when used either as an offertory or as a lead-in to a music set. While none of the individual brass parts are particularly challenging, it will still be an exercise in balanced small ensemble playing.

Also available for Saxophone Quartet or  Trombone Ensemble

This setting of George Bernard's Classic Hymn, "Old Rugged Cross," for Saxophone quartet takes a completely new approach harmonically in this arrangement. While the famous melody in the 1st Alto Sax has a few added embellishments, the rest of the ensemble joins with tighter jazz-influenced harmony.

A reflective approach to this piece of music would be extremely rewarding in a worship setting when used either as an offertory or as a lead-in to a music set. While none of the individual brass parts are particularly challenging, it will still be an exercise in balanced small ensemble playing.

For flexibility, while this arrangement was conceived as an AATB ensemble, a Soprano Sax sub part is included as an optional replacement of Alto 1 (SATB) or alternatively a second Tenor Sax can substitute for the Bari Sax (AATT).

Also available for Trombone Ensemble

My Favorite Things – inspired by Kelly Clarkson and arranged for Brass Quintet and Rhythm Section  Set in the original key of Em.  Also note that the string parts are optional and the keyboard part only has chord symbols.  A synth/String Reduction part is included that covers all the string parts. This is fairly easy to play though it sounds tougher on the recording. 

Also available with accompaniments for 3 Horns and Full Big Band

My Favorite Things – inspired by Kelly Clarkson and arranged for big band 5444 and (optional) strings 2111. Set in the original key of Em. *Note that this arrangement includes a clarinet and bass sax which should be considered optional. Also note that the string parts are optional and the keyboard part only has chord symbols. A synth/String Reduction part is included that covers all the string parts. This is fairly easy to play though it sounds tougher on the recording.

Also available with reduced accompaniments for 3 Horns and 5 Brass 

This tender recording from Zach Williams & Dolly Parton is presented here in a TTBB Men’s Quartet/Choir arrangement. The lead sheet is included with this package.

In this arrangement, Dolly’s vocals effectively become the high tenor part and the lead singer takes on Zach Williams’ vocal. Baritone/Bass parts have been worked in on the Chorus.

This Piano part and Lead Sheet both conform to the original performance in form, but for this edition the key has been lowered to E-flat major. Vocal harmonies are cued above the full-sized notes of the melody. Dolly takes some liberties here and there, but not every inflection is notated every time.

Also available independently with only the Lead Sheet.

Additionally available as in a Lowered Key as a Lead Sheet or a Piano/Vocal arrangement.

This tender recording from Zach Williams & Dolly Parton is presented here in a TTBB Men’s Quartet/Choir arrangement. The lead sheet is included with this package.

In this arrangement, Dolly’s vocals effectively become the high tenor part and the lead singer takes on Zach Williams’ vocal. Baritone/Bass parts have been worked in on the Chorus.

This Piano part and Lead Sheet both conform to the original performance: same key and same form. Vocal harmonies are cued above the full-sized notes of the melody. Dolly takes some liberties here and there, but not every inflection is notated every time. The recording can be heard here: https://www.youtube.com/watch?v=37wV6D49iEY

Also available independently with only the Lead Sheet.

Additionally available as in a Lowered Key as a Lead Sheet or a Piano/Vocal arrangement.

This standard is available here for 4 horn Jazz Combo and Rhythm section.

This arrangement was written as a “Head” chart where, after the initial rundown of the melody, the form is repeated for as many soloists as are desired before a final repeat playing the tune and proceeding to the second ending. Chord changes are provided in all parts for flexibility in soloist selection. Optionally, the brief stop-time at measure 27 makes for a good place for the ensemble to come back in during a final solo and head on through the 2nd ending. Another performance option: It works well to start this tune with walking bass alone, horns come in at the head, then add full rhythm at measure 15 the first time..

This chart makes for a good opportunity for a jazz combo to perform this tune in harmony with a rhythm section.

Also available for Trombone Quartet or Saxophone Quartet and Rhythm

This standard is available here for 4 Saxophones (AATB) and Rhythm section.

This arrangement was written as a “Head” chart where, after the initial rundown of the melody, the form is repeated for as many soloists as are desired before a final repeat playing the tune and proceeding to the second ending. Chord changes are provided in all parts for flexibility in soloist selection. Optionally, the brief stop-time at measure 27 makes for a good place for the ensemble to come back in during a final solo and head on through the 2nd ending. Another performance option: It works well to start this tune with walking bass alone, horns come in at the head, then add full rhythm at measure 15 the first time..

This chart makes for a good opportunity for a sax quartet to perform this tune in harmony with a rhythm section.

Also available for Trombone Quartet or mixed Jazz Combo

This standard is available here for 4 Trombones and Rhythm section.

This arrangement was written as a “Head” chart where, after the initial rundown of the melody, the form is repeated for as many soloists as are desired before a final repeat playing the tune and proceeding to the second ending. Chord changes are provided in all parts for flexibility in soloist selection. Optionally, the brief stop-time at measure 27 makes for a good place for the ensemble to come back in during a final solo and head on through the 2nd ending. Another performance option: It works well to start this tune with walking bass alone, horns come in at the head, then add full rhythm at measure 15 the first time..

The lead trombone part requires high range capability up to a high “C” but all four prats remain appropriate to their roles in the section. This chart makes for a good opportunity for a trombone quartet to perform this tune in harmony with a rhythm section.

Also available for Saxophone Quartet or mixed Jazz Combo

Edward Taylor Paull (1858-1924) was an American composer of marches and rags who was successful in producing a large number of circus marches in the late 1800’s/early 1900’s.. The “Ben Hur Chariot Race March” was the first publication he released in 1894. He also arranged Harry J. Lincoln's hit, "Midnight Fire Alarm."

These arrangements have been prepared for the instrumentation of Alford’s “Hungry Five” polka band books and serve as a fine addendum to those familiar pieces. While the clarinet parts tend to be the most active, they often feature diatonic scalar patterns that remain accessible to most intermediate-level players. The trombone part here is more active than many other arrangements for this kind of ensemble and could also be handled by Euphonium if desired. Again, it’s mostly short diatonic 16th note bursts. At the risk of sounding sloppy, it may be better to take the tempo a little lesser than a circus march tempo to accommodate. Besides, if playing this piece for Polka dancing, it would be best to take this at a more danceable tempo anyway.

This downloadable PDF package contains 2 complete packages of full scores and a sets of parts for "Midnight Fire Alarm" and “Ben Hur Chariot Race March” that are ready to go for adding some extra variety to your German Band’s Oktoberfest OomPah gig!

Edward Taylor Paull (1858-1924) was an American composer of marches and rags who was successful in producing a large number of circus marches in the late 1800’s/early 1900’s.. The “Ben Hur Chariot Race March” was the first publication he released in 1894.

This arrangement has been prepared for the instrumentation of Alford’s “Hungry Five” polka band books and serve as a fine addendum to those familiar pieces. While the clarinet parts tend to be the most active, they often feature diatonic scalar patterns that remain accessible to most intermediate-level players. The trombone part here is more active than many other arrangements for this kind of ensemble and could also be handled by Euphonium if desired. Again, it’s mostly short diatonic 16th note bursts. At the risk of sounding sloppy, it may be better to take the tempo a little lesser than a circus march tempo to accommodate. Besides, if playing this piece for Polka dancing, it would be best to take this at a more danceable tempo anyway.

This downloadable PDF package contains a full score and a set of parts that are ready to go for adding some extra variety to your German Band’s Oktoberfest OomPah gig!

Also included as part of the E.T. Paull Hungry Five 2-Pack

This 70's-era gospel standard is presented here in a TTBB Men's Quartet (or Men’s Chorus) arrangement much in the style as performed by the Oak Ridge Boys. Besides the vocal and piano parts, this arrangement also includes the chord changes throughout (with guitar fretboards) and notated piano introduction.

Range-wise, there are a few things to watch for. The Bass part is intended for a very low voice going down to the low “C” below the staff, though it is cued in the higher octave. The Tenor line spends a good deal of time up at the “G” on top of the staff, and there is also a “Willie Wynn” - styled solo at the end that could feature a soloist up there.

A great addition to either celebratory worship services or special concert settings!

Also available as a stand-alone Lead Sheet

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