Hal Leonard
The world's largest print-music publisher. Founded 1947 in Winona, Minnesota by Harold & Everett Edstrom — today the catalogue runs to fifty-one thousand active titles across every instrument and idiom, with distribution for over five hundred imprints worldwide.
Music exists in print. The rest is silence, or oral tradition, or someone's living room in the third arrondissement.The Editor · Foreword to the Distribution Catalogue
Every instrument,
every idiom.
Started by two brothers and a bandleader in a small Minnesota town. Seventy-five years later, the imprint is the connective tissue of American music publishing — methods, scores, songbooks, choral, band, orchestral, and folio editions for every stage from grade-school recital to professional concert hall.
The Hal Leonard Essential Elements band method has trained four generations of school musicians. The Real Books are the standard jazz fake-book worldwide. The catalogue is the spine of the trade.
The world's largest print-music publisher.Hal Leonard · the catalogue line
Two and a half centuries.
The publishing houses inside the Hal Leonard distribution network stretch from the early 18th century to the present. Founding dates, key signings, and the milestones that built the modern music-publishing trade.
Breitkopf & Härtel
Bernhard Christoph Breitkopf opens his press in Leipzig. The oldest music publisher in the world, still operating.
Schott, Mainz
Bernhard Schott founds the press the year Beethoven was born. By 1826, Schott publishes Beethoven's Missa solemnis and the Ninth Symphony direct from the composer.
Edition Peters
Hoffmeister & Kühnel open in Leipzig. Carl Friedrich Peters acquires in 1814. The green pocket scores become the global concert-music standard.
Ricordi, Milano
Giovanni Ricordi opens above La Scala. Within a decade, the press holds rights to Rossini. Verdi and Puccini follow.
Novello, London
Vincent Novello, organist at the Portuguese Embassy chapel, founds the British choral house. By 1846, Handel's Messiah is in print at a sixpence.
Boosey, London
Thomas Boosey opens a circulating library of foreign sheet music in Regency London. Will merge with Hawkes in 1930.
G. Schirmer, NY
Gustav Schirmer opens America's oldest active classical music publisher. The yellow-bound Library of Musical Classics begins in 1880.
Editions Durand
Auguste Durand opens in Paris. By 1900, the house has signed Saint-Saëns, Fauré, Debussy, Ravel — the entire impressionist generation.
Eulenburg
Ernst Eulenburg invents the yellow pocket score in Leipzig. The format becomes the conductor's library standard worldwide.
Universal Edition
Vienna opens its modernist house. By 1910 it has signed Mahler, Schoenberg, Bartók. The Second Viennese School publishes here.
Bärenreiter
Karl Vötterle founds the German urtext house in Augsburg. After 1945, it becomes the editorial home of the Neue Bach-Ausgabe.
Hal Leonard founded
Harold and Everett Edstrom open in Winona, Minnesota. The American distribution network begins.
G. Henle Verlag
Günter Henle founds the urtext press in Munich. The blue cover defines the conservatory standard for three generations.
Shawnee Press
Hal Leonard acquires the Pennsylvania choral house founded by Fred Waring in 1939. One ordering system, the same editorial line.
Music Sales Group
Hal Leonard acquires the British group containing Chester Music, Novello, Wise Publications, Bosworth, and Edward B. Marks. The catalogue scale roughly triples.
The distribution network
561 imprints. 137,000 active titles. US distribution from Hal Leonard in Milwaukee — global catalogues, single ordering system.
Three hundred years of music in print.
Every printed note in this catalogue has passed through editorial hands — engravers, copyists, copy-editors, proof-readers, source-criticism committees, plate numbers, copyright registries. The work below is the inheritance of three centuries of that labour, gathered into a single ordering system.
The composers
distributed here.
Three centuries of concert music. The houses below carry these composers exclusively or as their primary publisher; their works are available through the Hal Leonard ordering system.
Bach to Beethoven
- J.S. Bach Bärenreiter · Henle · Peters
- Handel Novello · Bärenreiter
- Haydn Henle · Bärenreiter
- Mozart Bärenreiter · Henle · Schott
- Beethoven Schott · Henle · Bärenreiter
- Schubert Bärenreiter · Henle
Romantic period
- Chopin Henle
- Schumann Henle · Bärenreiter
- Brahms Henle · Peters
- Liszt Henle · Editio Musica Budapest
- Wagner Schott
- Mendelssohn Henle · Novello
- Saint-Saëns Durand
- Fauré Durand
- Grieg Peters
Opera · Italian
- Rossini Ricordi
- Bellini Ricordi
- Donizetti Ricordi
- Verdi Ricordi
- Puccini Ricordi
- Mascagni Ricordi
- Leoncavallo Ricordi
- Respighi Ricordi
The French tradition
- Debussy Durand
- Ravel Durand
- Dukas Durand
- Roussel Durand
- d'Indy Durand
- Albéniz Unión Musical
- Granados Unión Musical · Chester
- Falla Chester
Late Romantic · early modern
- Mahler Universal · Peters · Boosey
- Richard Strauss Fürstner · Boosey
- Sibelius Fennica Gehrman · Breitkopf
- Rachmaninoff Boosey & Hawkes
- Elgar Novello
- Vaughan Williams Novello
- Ravel Durand
The modernists
- Stravinsky Boosey & Hawkes · Chester
- Schoenberg Universal · Belmont
- Berg Universal
- Webern Universal
- Bartók Boosey · Universal · Bartók Records
- Hindemith Schott · Bosworth
- Prokofiev Boosey & Hawkes
Soviet & Russian
- Shostakovich Sikorski
- Khachaturian Sikorski
- Schnittke Sikorski
- Gubaidulina Sikorski
- Kancheli Sikorski
- Pärt Sikorski · Universal
British concert · 20th century
- Britten Boosey & Hawkes · Faber
- Walton Oxford · Boosey
- Tippett Schott
- Birtwistle Universal · Boosey
- Tavener Chester
- MacMillan Boosey · Chester
American concert
- Copland Boosey & Hawkes
- Bernstein G. Schirmer · Boosey
- Barber G. Schirmer
- Menotti G. Schirmer
- Schuman G. Schirmer · Presser
- Crumb Peters · Presser
- Adams Boosey & Hawkes
Messiaen and after
- Messiaen Leduc · Durand
- Dutilleux Leduc
- Boulez Universal
- Berio Universal
- Stockhausen Universal
- Henze Schott
- Penderecki Schott
- Saariaho Chester · Boosey
Nordic and Eastern European
- Sibelius Fennica Gehrman
- Rautavaara Fennica Gehrman
- Lindberg Fennica Gehrman
- Janáček Chester · Universal
- Kodály Editio Musica Budapest · Boosey
- Lutosławski PWM · Chester
The American songbook
- Gershwin Music Sales · Hal Leonard
- Cole Porter Hal Leonard
- Berlin Hal Leonard
- Rodgers & Hammerstein Hal Leonard
- Hendrix Cherry Lane
- The Beatles Wise Publications · Hal Leonard
- Dylan Cherry Lane · Music Sales
Twelve landmark first editions.
The catalogue stretches back through the imprints listed here to the first printings of the works that defined Western art music. Twelve editions, selected to illustrate the scope — from the Beethoven Ninth to the Reich phasing pieces.
Symphony No. 9, Op. 125
The first edition appears the year before the composer's death. Beethoven negotiated directly with Bernhard Schott in Mainz, having been dissatisfied with Steiner's Vienna prints.
Winterreise, D. 911
Tobias Haslinger in Vienna publishes the cycle the year of the composer's death. The setting of Wilhelm Müller becomes the defining lieder cycle of the 19th century.
Tristan und Isolde
Breitkopf & Härtel issue the full score the year of the Munich premiere. The harmonic language reorganises Western music in print.
Symphony No. 1, Op. 68
Twenty-one years in composition. Fritz Simrock in Berlin publishes immediately after the Karlsruhe premiere. Hans von Bülow calls it Beethoven's tenth.
Prélude à l'après-midi d'un faune
Eugen Fromont publishes in Paris. The work is later acquired by Éditions Jobert and remains a flagship in Music Sales France — today distributed through Hal Leonard.
Symphony No. 8, Of a Thousand
Emil Hertzka acquires the score for Universal Edition the same year Mahler conducts the Munich premiere — a thousand performers, eighteen rehearsals, two months before the composer's death.
Le Sacre du printemps
Édition russe de musique publishes the year of the Théâtre des Champs-Élysées riot. Boosey & Hawkes acquires the catalogue in 1947 and remains the licensing house today.
Pierrot Lunaire, Op. 21
Universal Edition prints the Sprechstimme score two years after the Berlin premiere. The melodrama becomes the methodological text for atonality.
Mikrokosmos, six volumes
Boosey & Hawkes London publishes the complete graded series. Bartók composes the 153 pieces over fourteen years — the modernist’s answer to Czerny.
Turangalîla-Symphonie
Durand publishes the ten-movement score four years after the Bernstein-conducted Boston premiere. Yvonne Loriod premieres the piano writing; the ondes Martenot enters the orchestral repertoire.
Le Marteau sans maître
Universal Edition prints the score of the Baden-Baden premiere. Total serialism is set in engraved form. Stravinsky calls it the most important score of the decade.
Music for 18 Musicians
Reich's own Hendon Music publishes; Boosey & Hawkes distributes. The eleven-chord cycle becomes the defining minimalist work and the bestselling new-music recording of its decade.
How to read a library.
Music publishers do not advertise — they bind. The colour of a spine is the signature of an editorial line. A blue Henle and an orange Bärenreiter mean specific things on a stand. Here is the visual vocabulary.
G. Henle Verlag
The Munich urtext press. The blue cover is the conservatory standard for piano sonatas, chamber music, and lieder.
Bärenreiter
The Kassel urtext house. Pale parchment covers with the gothic B. The editorial home of the Neue Bach-Ausgabe.
G. Schirmer
The American performing edition. The yellow-bound Library of Musical Classics sits in every conservatory teaching studio.
Edition Peters
The Leipzig pocket score. Green cloth. The 19th-century concert standard before Eulenburg and Bärenreiter.
Schott, Mainz
Cream covers with deep red lettering. Beethoven's last publisher. The Hindemith catalogue. Reichardt to Henze.
Eulenburg
The conductor's pocket score. Yellow cloth bindings. Every Beethoven, Brahms, Mahler symphony in the format Toscanini carried.
Universal Edition
Vienna's modernist house. Pink wrappers around Mahler, Schoenberg, Webern, Bartók, Berg, Stockhausen, Boulez, Birtwistle.
Boosey & Hawkes
The British concert house. Cream wrappers with the gold-bordered cartouche. Stravinsky, Britten, Copland, Bernstein.
Five catalogue series
that shaped music pedagogy.
The deep teaching catalogues — the methods that trained the players, the anthologies that built the conservatories, the urtext lines that became the global reference.
Essential Elements
Hal Leonard's flagship band method. Four generations of American school musicians have learnt their first scales from these books. Available for every wind, brass, and percussion instrument; with online play-along audio for every exercise.
The Real Books
The standard jazz fake-book — Volumes 1, 2, 3 in C, B♭, E♭, and bass clef editions. The book every jazz student carries to their first jam session. From Charlie Parker's bebop heads to the present-day standard repertoire.
Schirmer's Library of Musical Classics
Started in 1880. The yellow-bound performing editions of the standard piano, voice, and chamber repertoire. Library Volume 1 is Czerny; Volume 6 is Hanon; the numbering now runs past two thousand. Every American piano student has owned the books.
Henle Urtext Edition
The blue-bound urtext series. Performance editions of Bach, Mozart, Beethoven, Schubert, Chopin, Schumann, Brahms, Debussy — what conservatories teach from. Editorial work anchored at the Beethoven-Haus and the Mozarteum.
The Neue Bach-Ausgabe
The complete-works critical edition of J.S. Bach published by Bärenreiter — the scholarly reference that supplanted the 19th-century Bach-Gesellschaft. Started 1954; completed 2007 across 99 volumes plus critical apparatus.
Rubank Method
Elementary, Intermediate, and Advanced Method books for every American band instrument. Three books per instrument, used in sequence from sixth grade through college audition. The yellow books on every American band-room shelf for eighty years.
Piano Adventures
The Nancy and Randall Faber series — five graded primers from Primer Level through Level 5, with paired Lesson, Theory, Technique & Performance, and Recital books. The most-adopted American piano method of the early-21st century.
John Thompson's Modern Course
Five red, yellow, and blue books. The piano method that taught the second half of the 20th century to play. Companion Easiest Piano Course, Teaching Little Fingers to Play primer, and supplementary albums.
The ABRSM graded syllabus
The international examination repertoire — Grade 1 through Grade 8, plus the LRSM, ARSM, FRSM diplomas. Six hundred thousand candidates take the exam annually, from London to Hong Kong. The teaching standard.
Composers & their publishers.
Across two centuries, the correspondence between composer and publisher records the working life of music in print — the engraving disputes, the proof corrections, the rights negotiations, the dedications. Six dispatches from the archive.
Beethoven to Schott
The composer writes to Mainz from Vienna requesting that the proofs of the Missa Solemnis be sent for personal correction; he was famously suspicious of engravers and frequently refused to authorise prints he had not inspected.
By the time the edition appears posthumously the firm holds the rights to the Ninth Symphony as well — an editorial relationship that survives in the Schott catalogue to this day.
Brahms to Simrock
Brahms wrote constantly to Fritz Simrock about engraving, paper stock, plate corrections, and dedicatee proofs. He once returned an entire edition of the German Requiem over a misset tempo marking.
The Simrock catalogue passes to Boosey & Hawkes in 1929; the Brahms editorial tradition survives in their Sämtliche Werke reissues today.
Mahler to Hertzka
From the rehearsals of the Eighth Symphony, Mahler dispatches manuscript corrections and large-scale instrumentation revisions to Emil Hertzka at Universal Edition almost weekly. The score arrives in print only six months before the Munich premiere.
Hertzka's editorial gamble on Mahler, Schoenberg, Berg, and Webern reshapes 20th-century music publishing.
Stravinsky to Érard
From his Swiss exile, Stravinsky negotiates the engraving and copyright terms for Les Noces with the Maison Érard. The mechanical pianos of the original conception are abandoned. The score migrates from Édition russe de musique to Chester to Boosey & Hawkes across forty years — the migration map of 20th-century copyright.
Britten to Boosey & Hawkes
For the premiere of the War Requiem at Coventry Cathedral, Britten writes to Boosey & Hawkes London insisting on a particular type-size for the Wilfred Owen interpolations and on the precise placement of the dedicatee line. The vocal score is engraved twice.
The Boosey vocal scores remain the performing edition of record.
Reich to Hendon Music
Reich founds Hendon Music in 1971 to control the engraving and distribution of his own works. Music for 18 Musicians appears under that imprint, distributed by Boosey & Hawkes. The composer-as-publisher tradition, last fully practised by Wagner with Schott, returns to American music.
Four kinds of edition.
The same Beethoven sonata exists in fifteen prints — which one to buy depends on what you are doing with it. Urtext for study. Performing edition for the lesson. Critical for the dissertation. Facsimile for the scholarship.
Urtext
The notes the composer actually wrote — no fingerings, no phrasings, no editorial accidentals. Source-critical apparatus in a separate commentary. The conservatory standard.
Performing edition
A specific performer's interpretation, set in print. Fingerings, bowings, pedal markings, dynamics, articulations. Useful in the studio, dangerous in the dissertation.
Critical edition
Complete-works editions with full critical apparatus, source filiation, variants, and editorial reports. The reference set behind every modern urtext.
Facsimile
Photographic reproduction of the composer's autograph or the first authorised print. The closest thing to handling the original short of the archive.
Six title pages.
The first edition of a work carries its publishing history on the title page — the imprint, the engraver, the dedicatee, the plate number, the year. Six historic frontispieces from the catalogue, set as the original printers laid them out.
No. 9
No. 1
No. 8
du printemps
The featured imprints
The classical houses, the popular folio publishers, the percussion ateliers — the names that defined music publishing for two centuries. Each has its own brand page with composer roster, founding history, and the catalogue in detail.
Hal Leonard
World's largest print-music publisher · 1947 · Winona MN
Shawnee Press
Fred Waring · 1939 · school and church choral
Boosey & Hawkes
Stravinsky · Britten · Copland · London 1816
Schott
Since 1770 · Mozart's first publisher · Beethoven's Ninth · Mainz
Southern Music Co.
American wind ensemble · San Antonio · 1937
Alliance Music Publications
Houston choral · working conductors
G. Schirmer, Inc.
Yellow Books · America's oldest classical · 1861
Lauren Keiser Music Publishing
American concert and jazz
Music Sales America
Chester · Novello · Wise · US imprint
PraiseGathering Publications
Sacred and worship choral
Hinshaw Music
Don Hinshaw · Chapel Hill sacred-choral · 1974
Henle Urtext Edition
Blue cover · the international urtext standard · since 1948
Arrangers' Publishing Company
Big-band charts · Duke · Basie · Kenton
Willis Music
John Thompson Modern Course · 1899 · Cincinnati
Ricordi
Verdi · Puccini · Italian opera · Milano since 1808
Editions Durand
Debussy · Ravel · Saint-Saëns · Paris 1869
Fred Bock Music Company
Joseph Martin · sacred choral mid-list
LP
Latin Percussion · Tito Puente · 1964 · Garfield NJ
Novello
Handel's Messiah at sixpence · British choral · 1811
Alphonse Leduc
Messiaen · Dutilleux · the Paris Conservatoire wind line
Tycoon Percussion
Hand and world percussion · conga · djembe
Pavane Publishing
American concert and educational choral
Chester Music
Stravinsky · Janáček · Falla · London concert
De Haske Publications
Dutch concert band · Jacob de Haan · Johan de Meij
Curnow Music
James Curnow · concert band, brass band
Rubank Publications
Elementary / Intermediate / Advanced · band method · 1937
G. Henle Verlag
The Munich editorial seat · Beethoven-Haus
Edward B. Marks Music Company
Tin Pan Alley · 1894 · standards · Latin
Schaum Publications
Red/Green/Blue/Brown piano method · 1933
Daybreak Music
Sacred and worship choral · Joseph Martin
Associated
Music Sales group · American concert choral
Brookfield Press
American concert and sacred choral
Gentry Publications
Mid-tier American choral · Music Sales group
Innovative Percussion
Every stick, every mallet · Nashville · 1992
Eulenburg
The pocket study score · 1874 · Leipzig
Cherry Lane Music
Hendrix · The Doors · Dylan · American rock folios
Sikorski
Shostakovich · Schnittke · Gubaidulina · Hamburg
Faber Piano Adventures
Nancy and Randall Faber · the modern piano method
Centerstream Publications
Guitar pedagogy · banjo · mandolin
Anglo Music Press
Philip Sparke · British brass band
Bosworth
Hindemith · Sevcik violin method · 1889
Yorktown Press
American educational pedagogy
Universal Edition
Mahler · Schoenberg · Berg · Webern · Vienna 1901
Fennica Gehrman
Sibelius · Rautavaara · Helsinki concert
ABRSM Publishing
The graded exam syllabus · Royal Schools · since 1889
Bartók Records & Publications
Bartók's mature catalogue · Mikrokosmos · String Quartets
Wise Publications
Beatles · Zeppelin · Stones · British rock folios
Edition Peters
Green pocket scores · since 1800 · Bach to Cage
Six entry points.
The catalogue is vast. These are the six titles a working musician's library starts with — the books that are nearly always the right answer the first time the question comes up.
Piano Adventures
Nancy and Randall Faber's modern primer. Lesson, theory, technique, and performance books move in parallel. The current standard for ages 5 – adult beginner.
The Real Book, Vol. 1 · C edition
The standard chord-melody compendium of jazz. Four hundred bebop heads, ballads, and standards in legal, accurately-transcribed form. Available in B♭, E♭, and bass clef.
Beethoven · Piano Sonatas vol. 1
The Henle blue, edited by Bertha Antonia Wallner with fingerings by Conrad Hansen. Op. 2 through Op. 22. The cornerstone of every conservatory piano library.
Essential Elements 2000, Bk. 1
Hal Leonard's flagship method. Every wind, brass, and percussion instrument available in matching keys. Online play-along audio. The American school-band standard.
Schirmer · SATB anthology
The Library of Musical Classics has set the choral starting bar since 1880. Singer-friendly voicings of Bach, Handel, Brahms, Mozart, and the standard sacred repertoire.
Eulenburg · Pocket scores
Yellow cloth bindings. Mozart symphonies in your hand. Every standard concert work in study size. The format Bernstein, Toscanini, and Karajan carried to rehearsal.
How to read a plate number.
Every score in the catalogue carries an imprint code and a thematic-catalogue reference. Once read, the system gives the entire publishing and scholarly history of a work in a single line of type.
Imprint prefixes
The two- or three-letter code printed on every modern score identifies the publisher and the catalogue series.
- HLHal Leonard — the American distributor catalogue. Eight-digit numbers across all imprints.
- HNG. Henle Verlag — Munich urtext. Numbered in order of publication since 1948.
- BABärenreiter — Kassel urtext. The Neue Bach-Ausgabe lives here.
- EPEdition Peters — Leipzig green pocket scores. Numbered since 1800.
- EDSchott Mainz — cream covers with red lettering. Continuous numbering since 1770.
- UEUniversal Edition — Vienna's modernist house. Mahler is UE 2772, Pierrot UE 5334.
- ETPEulenburg — yellow conductor's pocket scores. Since 1874.
- B&HBoosey & Hawkes — the British concert house. Stravinsky, Britten, Bartók, Reich.
- LMCG. Schirmer's Library of Musical Classics — the yellow-bound numbered series.
Composer catalogues
Composers are catalogued under the names of their thematic editors. A printed score always carries both an imprint number and a composer-catalogue reference.
- BWVBach · Wolfgang Schmieder, 1950. BWV 232 is the Mass in B minor; BWV 1080 the Art of Fugue.
- K. / KVMozart · Ludwig von Köchel, 1862. K. 626 is the Requiem; K. 550 the G-minor Symphony.
- D.Schubert · Otto Erich Deutsch, 1951. D. 944 is the Great C-major; D. 960 the final B-flat Sonata.
- Hob.Haydn · Anthony van Hoboken, 1957–71. Hob. I:103 is the Drumroll Symphony.
- Op. / WoOBeethoven uses opus numbers; Werke ohne Opuszahl (WoO) covers unpublished works. Für Elise is WoO 59.
- L. / CDDebussy · François Lesure (and the Cahiers Debussy revision). L. 86 is La mer.
- S. / G.Liszt · Humphrey Searle, later revised by Grove. S. 178 is the B-minor Sonata.
- RVVivaldi · Peter Ryom, 1973. RV 269 is the Spring concerto.
- SWVSchütz · Werner Bittinger, 1960. SWV 435 is the Geistliche Chormusik; SWV 50 the Psalmen Davids.
For the scholarship.
Beyond the scores themselves, a small library of writing on music publishing — the editions, the editors, the engravers, and the editorial decisions that produced the catalogue you are browsing.
Music Printing and Publishing
The reference work. Fourteen contributors trace the history from Petrucci's 1501 Venice typographies to the offset litho era. Still the single most useful book on the trade.
Musik in Geschichte und Gegenwart
The German encyclopaedia of musical scholarship. Twenty-nine volumes in the second edition. The Bach, Mozart, Beethoven articles set the editorial standard for the late 20th century.
The Classical Style
The argumentative reader on Haydn, Mozart, and Beethoven. Rosen reads the scores from inside the piano. The 1997 revision adds the chapters on Schubert.
Studies in the Printing, Publishing and Performance of Music
Boorman's collected papers on the early-modern printed score, on Petrucci's typefaces, and on what a 16th-century chorister could and could not read in performance.
Contemplating Music
The state-of-musicology pamphlet that reorganised the field. Kerman's challenge to the philological tradition shaped a generation of editorial decisions in the houses listed above.
The New Grove Dictionary of Music and Musicians
The English reference. Twenty-nine volumes, fifty thousand entries, twenty thousand contributors. The print catalogue's articles on the publishing houses are gold-standard scholarship.
The Composer's Voice
Cone on what the printed score actually represents — the gap between the composer's intention, the editor's reading, the engraver's craft, and the performer's interpretation.
Behind the Notes · House Histories
Each major publisher has commissioned its own house history. The Bärenreiter centenary volume (2023) and the Schott 250th (2020) are particularly fine on the editorial decisions that shaped the catalogue.
Where the grades live.
Every major examination board cross-references specific imprints. If a student is preparing a grade or a diploma, these are the houses that publish the syllabus pieces — and which the examiner expects on the desk.
Royal Schools · London
The Associated Board of the Royal Schools of Music. The international graded standard. Performance, theory, jazz, and choral syllabi updated on a three-year cycle.
Royal Conservatory · Toronto
The Royal Conservatory of Music. The North American graded standard. The Celebration Series is the reference syllabus — piano, voice, strings, theory, and history.
Trinity College · London
Trinity College London. The flexible-choice syllabus. Strong on wind, brass, and rock & pop alongside the classical repertoire. Diplomas accepted internationally.
Regional syllabi
Regional examination and festival syllabi cross-reference the major imprints. AMEB (Australia), NYSSMA (New York State), NAfME contest lists, MTNA — all read from the same library.
The full Hal Leonard
distribution network.
Every publisher and imprint in the Hal Leonard catalogue, grouped by editorial focus. 561 houses, 137K active titles — every one browsable as its own brand page.
The concert houses — German urtext, Italian opera, French impressionism, the modernist canon. From Schott (1770) and Breitkopf & Härtel (1719) through Universal Edition, Bärenreiter, Edition Peters, and Sikorski. The reference editions are here.
The choral catalogues that get sung Sunday morning and Friday night. Sacred anthems, secular concert pieces, oratorio vocal scores, cantatas, school choral, gospel and worship — every voicing, every level.
Beginning method through diploma-level study. Rubank for band; Thompson, Faber, Schaum for piano; Hal Leonard's own Essential Elements; ABRSM examination repertoire. The materials that build players.
The percussion-hardware houses — Latin Percussion, Innovative Percussion sticks & mallets, Tycoon hand-percussion. Plus the drumhead and accessory ateliers. Working drummers shop here.
The broader catalogue — popular folios, mid-list publishers, specialist houses. Every imprint that flows through the Hal Leonard distribution system, each with its own editorial line.
Three centuries, five continents.
What the catalogue actually contains — the long-tail story of distributed music publishing.
Breitkopf & Härtel · Leipzig · the oldest music publisher in the world
From the early 18th century to commissions premiering this season
Each with its own editorial line, colophon, and brand page
Print and digital editions across every instrument and idiom
Classical, Choral, Method, Percussion, and Catalogue Imprints
Two brothers and a bandleader in Winona, Minnesota
Hal Leonard acquires Chester, Novello, Wise, Bosworth, Edward B. Marks
The Hal Leonard distribution centre — every catalogue ships from here
The world's largest print-music
publisher.
From the Bach editions of 1719 to the pop folios of this season — the publishing trade in print, distributed worldwide. Browse the catalogue below.
