Aaron Hettinga

Aaron Hettinga

Listed below are Aaron's works available for sale on this site:

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.

Saturday, 26 September 2020 21:42

There Was Jesus - TTBB Vocals with Piano

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.

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. Lincon'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 compelte packges 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 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 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

Wednesday, 16 September 2020 16:02

Midnight Fire Alarm - for "Hungry Five" Polka Band

Harry James Lincoln (1878-1937) was an American composer of marches and rags. “Midnight Fire Alarm” was his first publication (released in 1900) which went on to become a hit upon the release of the piano and band arrangements done by Edward Taylor Paull (1858-1924), a composer/arranger/sheet music publisher who was successful in producing a large number of circus marches in the late 1800’s/early 1900’s.

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 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 gig!

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

Professor Frank Marion Davis (1839-1896) was an American educator, singer, and composer of both hymns and secular works. Among his secular works were a number of collections of polkas and waltzes written for solo piano. This series of works presents arrangements of a number of Davis’ compositions 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. All parts should remain accessible to most intermediate-level players.

  • The “Blue Bird’s Call” Polka (originally published in 1876) contains onomatopoeic chirps in the clarinet parts that make for a light and fun addition to any program.
  • “Good Enough” Polka (originally published in 1874) is an example of Davis’ standard composition form used throughout most of this collection.
  • “Harvest Home” Waltz (originally published in 1873) adds a pleasant waltz to the collection. Its melody is first presented simply,then embellishments are added as the piece continues.
  • Davis’ aptly-titled “Jolly Friend” Polka (originally published in 1874) is a jovial tune with a bouncy melody that moves the clarinetists nimbly around a bit!
  • “Lake-Side” Polka (originally published in 1874) has more participation in the Trumpet and Trombone parts than are found in much of the rest of this collection.
  • “Nimble Toe” Polka (originally published in 1874) passes the melodic and accompaniment elements around the ensemble for a bit of variety for the players.

This downloadable PDF package contains a set of full scores and a set of folio-sized parts (2 songs per page) that are ready to go for your German band's Oktoberfest gig!

Also available individually as linked above

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