Guitar,Piano and Keyboard,Vocal - Level 3 - Interactive Download SKU: A0.480854 By Ashley Brook Smith. By Ashley Brook Smith. This edition: Interactive Download. Musical/Show,Opera. Score. 3 pages. Duration 132. Ashley Brook Smith #3FZIxMsoGCK5guz5IcBpck. Published by Ashley Brook Smith (A0.480854). Key: C major.This is the piano/vocal part to a full orchestral score in a completed Ballet, Symphony, Opera. The work has costumes, characters, choreography and can all be seen and performed. Please enjoy a portion of my three-year project.

Choral Choir,Choral (SATB) - Level 2 - Digital Download SKU: A0.1304503 Composed by Traditional. Arranged by Lloyd Buck. Advent,Christmas,Holiday,Religious,Traditional. 2 pages. Lloyd Buck #893995. Published by Lloyd Buck (A0.1304503). There are two generally known versions of Coventry Carol, the often performed 4 part version arranged by Martin Shaw, and the original 1591 version, which is only in 3 parts.Musically, I always preferred the 1591 version, with it's false relations and irregular metre. Unfortunately, when you direct a SATB choir, this is not so easily performed, and directors by default perform the Shaw arrangement. I therefore arranged the 3 part harmonisation of 1591 into 4 parts, keeping the irregular metre and false relations of the original, whilst filling in some of the harmony. The result is a version which works in 4 parts, but keeps the feel of the original 1591 setting.

Cello - Digital Download SKU: A0.1103919 By Mády-Szabó Eszter. By David Warin Solomons. Baroque,Chamber,Classical,Jewish. Full Performance. Duration 258. David Warin Solomons #707203. Published by David Warin Solomons (A0.1103919). This work is based on 4 melodies by Telemann but with many additional augmented-second twists, in Jewish music style, and various decorations. The original melodies are: Herr wie lange (Lord, how long) This is a canon for two voices based on the psalm text and forms the beginning and end of the work Herr, wie lange willst du mein so gar vergessen, wie lange verbirgest du dein Antlitz vor mir! Lord, how long you forget me how long will you hide your face from me The other pieces are based on Telemann's settings for voice and keyboard of poems by his contemporary Daniel Stoppe Glück - (Happiness) Das glücke kömmt selten per posta, zu pferde es geht zu fusse, schritt vor schritt; sein eigensinn ist nicht zu zwingen; Happiness seldom comes by post or on horseback It goes on foot step by step It does not demand compulsion Jeder sein eigener Richter (Each his own judge) Ich will vor meiner thüre kehren; ich habe gnug für mich zu thun; ich kenne mich, ich bin kein engel; ein jeder mensch hat seine mängel, wer diese tilgen will, darf lebenslang nicht ruhn. I will turn from my doors I have enough for myself to do I know myself, I am no angel Every person has his faults Anyone who wishes to wipe them out Can never be at at peace all his life Wind (Wind) Wind macht aus thoren kluge leute; durch wind verdient der narr sein brodt: The wind makes fools into clever folk The fool earns his bread by the wind Performed by Mády-Szabó Eszter of Budapest Scoring Cellos.

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.905717 By Casting Crowns. By Mark Hall. Arranged by Brandon Haynes. Christian,Gospel. Octavo. 11 pages. Brandon Haynes #4609419. Published by Brandon Haynes (A0.905717).  If We are the Body was a praise song written over a decade ago in the early 2000’s by Mark Hall and performed by renowned praise-band Casting Crowns. The song still holds great significance nearly 16 years later as it poses important questions of discipleship to those who associate themselves as Christians. The song asks; if we are the body of Christ, what are we doing to further his kingdom? It also candidly points out many faults in Christian behavior, which is an honest quality I love about this song. Youth groups and praise-bands often perform this song; however, I have arranged the accompaniment more solemnly to highlight the text in a more meditative manner so that it is also accessible for adult church choirs.

Choral Choir (SATB) - Digital Download SKU: A0.835786 Composed by Paul Burnell. Contemporary. Octavo. 124 pages. Paul Burnell #3405305. Published by Paul Burnell (A0.835786). Composed 2007, duration 8:30 approx. The music and text of ‘The Sense of a Place Will Remain’ was inspired by pictures of an early carved stone cross and a tenth-century Viking burial stone on the island of Inchcolm in Scotland. First performed by Inchcolm New Music Ensemble 29 June 2007, conductor Steve King.   Instrumentation is flexible; the following is a guide: Part 1 - Violin 1, flute 1 (doubling piccolo if possible) oboe 1, Part 2 - Violin 2, flute 2, oboe 2 (doubling tenor recorder if possible), clarinet 1, trumpet Part 3 - Viola, clarinet 2, horn in F, Eb horn (2 players doubling harmonicas in C) Part 4 - Cello, bassoon Part 5 - Double bass, bass guitar (or Cello 2 - playing as if usual bass clef, but an octave lower where possible) SATB voices (doubling metal spoons and pitch pipes) Optional:Percussion (one player) - claves, glockenspiel (could be a child’s toy instrument such as an ‘Angel’ glockenspiel), mark tree, spring drum (thunder shaker), frame drum, musical jewelry box (or similar clockwork device).Should a glockenspiel not be available, a special part has been created which arranges the glockenspiel for two flutes, together with the other percussion music. This special part is not visible in the score. Keyboard instrument with sustaining capability - piano sound   Instructions: Wind players can breathe ad lib. during any very long notes. From letter D onwards non-wind players who are not soloists blow across the top of small bottles. The pitches produced are not specified, but they should not be shrill. A soft breathy tone is preferred. About half of the voices play pairs of metal spoons (share printed part between two singers and anyone not holding the music holds metal spoons). Hold the spoons one in each hand, and strike the larger ends together. Spoons are struck together where shown with a large patterned note head. Strike rapidly where a tremolo sign is given. Four singers play pitch tuning pipes: 1 Soprano and 1 Alto play viola/cello pitch tuning pipes, 1 Tenor and 1 Bass play violin pitch tuning pipes Pitch pipe playing is indicated with square note heads - player should breathe ad lib. during very long notes. Where there are very long sung notes, the singers may stagger breathing ad lib. Spoken sounds are indicated with x note heads and with the text in italics. There are many pauses. These can be of varying duration, but on the whole they should not hold up the momentum of the piece, but be of sufficient duration to establish the solo and pitch pipe notes.   Text: Carve stone Strike out Stay at home Or go far alone. Blocks of stone are laid Emblazoned with the signs of great deeds That signify our memory, Mem’ries of who we are. Careful carvings erode through time, Chiseled grooves smooth away. Families, they scatter and fade As generations age Descendants pass on memory time. Sense of our allegiance shifts when major faults are found, Feelings of belonging fall on shaky ground, But the sense of a place will remain.

String Trio Cello,Violin - Level 3 - Digital Download SKU: A0.1469586 By Sting. By Sting. Arranged by Homco/Crinion. Pop. 4 pages. Homco/Crinion #1047632. Published by Homco/Crinion (A0.1469586). Fields of Gold - written and performed by Sting - was recorded at his 16th century Wiltshire Manor Lakehouse in the English countryside. The view and the wind moving through the landscape inspired the lyrics. The song is mellow and enchanting, yet seductive and almost primal. Paul McCartney of The Beatles once praised the work, saying: ...it flows so perfectly, that it's near impossible to find fault with it. And yes, it does flow beautifully on the string instruments in this arrangement. Come, walk the fields of gold.

Level 4 - Digital Download SKU: A0.1136040 By Budapest Scoring. By King Henry VIII (attrib.). Arranged by David Warin Solomons. Classical,Contemporary. Full Performance. Duration 144. David Warin Solomons #736065. Published by David Warin Solomons (A0.1136040). Hélas madame is attributed to King Henry VIII. It is part of a secular collection, found on a manuscript that was used in Henry's court. The originality of the song has been questioned, with various parts of the song allegedly taken from similar pieces in Europe. The song itself is a courtship conversation in Middle French between a man and woman. Hélas madame, celle que j’ayme tant: Souffrez que soye vostre humble servant; Vostre humble servant je serays a toujours Et tant que je viv’ray aultr’ n’aymeray que vous. Hélas, beau sire, vous estez bel et bon, Sage et courtoys et de noble maison, Et aussi bon que l’on scairoit finer, Mais cil que j’ayme, ne scairoye oublier. Hellas, ma dame, pences en vostre cas: Entre nous deulx ne fault point d’avocatz. Certes non pas, et vous le scavez bien. Allez vous en, car vous ne faictez rien. Mon cueur souspire et se plaint tendrement, Quant il ne peult trouver allegement. Ne scay comment on me veult dechasser; S’il est ainsi, j’ayray ailleurs chasser. Hellas, ma dame, et n’en seray-je point? Certes beau sire, je ne le vous dis point. Servez a point: il vous sera mery. Hellas, ma dame, de bon cueur vous mercy. Alas my lady, whom I do so love: Suffer me to be your humble servant; Your humble servant I shall always be. And while I live, I'll love none else but you. Alas, fair sir, you are good and kind, Wise and courteous and from a noble house, And as good as one could find, But I can't forget the one I love. Alas my lady, think upon your case: Between us two, no need for advocate. Certainly not, and you know it well. Be gone, for you are doing nothing. My heart sighs and tenderly complains, When it cannot find relief. I know not how it wants me to woo; If it is so, I'll go wooing elsewhere. Alas my lady, and shall I not? Certainly, fair sir, I have not said so. Behave rightly and you will be rewarded. Alas my lady, from my whole heart, thank you. Performed by Anita Szabó Ildikó Szabady Iza Nagy Boglárka Dávid.

Large Ensemble Clarinet,Double Bass,Flute,High Voice,Low Voice,Medium Voice,Piano Accompaniment,Violin - Level 5 - Digital Download SKU: A0.1026396 Composed by Laurence Panter. 20th Century,Contemporary,Folk,Halloween,Opera. Score and parts. 139 pages. Laurence Panter #6118787. Published by Laurence Panter (A0.1026396). A one-act opera in three scenes, based on the chilling ballad of the Twa Sisters, collected by Francis Child. Libretto by Christopher Faulkner. Includes a silent part for one of the sisters which was performed by a dancer in the original production, and ideally requires a tenor/soprano who can play the violin for the part of the violinist, otherwise this could be mimed. Otherwise, singers required:Sister: SopranoViolin-maker: BaritoneViolinist: TenorGroom: BaritoneBest man: BaritoneMatron: Mezzo-sopranoStaff girl: SopranoStaff man: TenorTotal running time approx. 50mins. The music takes an English folk melody for one if its main themes but the overall style is lyrical with rich harmonies and interweaving lines.

5 saxophones (SAATBar) - intermediate to advanced - Digital Download SKU: S9.Q40427 Third movement of the Suite espanola No. 1. Composed by Isaac Albeniz. Arranged by Albert Loritz. This edition: score and parts. Quintett - Saxophon - Bearbeitung. Downloadable, score and parts. Op. 47. Advance Music GmbH - Digital #Q40427. Published by Advance Music GmbH - Digital (S9.Q40427). The Spanish composer and pianist Isaac Manuel Francisco Albéniz’ (y Pascual) fascinating and eventful biography is informatively described in the relevant specialist literature; with a few clicks, though, you might also do some successful research on the internet. Albéniz is considered to be the father of Spanish national music per se. Incorporating rhythms and melodies typical of Spanish folk music, he succeeded in embedding folcloristic elements in virtuoso compositions for the piano. Sevilla is the third movement of the Suite Española No. 1 for Piano, Op. 47. The final version of the suite contains eight characteristic pieces. The title of each one of them refers to a geographical region or city in Spain – including Cuba! The folcloristic and improvisational character of Sevilla results from memorable motifs with characteristic embellishments in the melody, - the imitation of other instruments (guitar, castanets, …) in the setting for piano, asymmetrical phrases,the unexpected appearance of new motifs,noticeable fluctuations in tempo and dynamics,unanticipated modulations, the “faulty� compositional structure (e.g. octave parallels between melody and bass in measure 11), and especially from the rhapsody-like middle part with its virtuoso and at the same time cantabile melody in the upper part. The arrangement presented here is notated one whole tone lower than the original version and has been written according to the proven principle of translating: “as true to the original as possible – as free as necessary�. The movement can be performed as a quintet but also in a choral/orchestral instrumentation. In the latter case, the middle part with the soprano saxophone solo (measures 76 – 79 and measures 104 – 110) is recommended to be executed by five soloists.

Cornet,Euphonium,Horn - Level 3 - Digital Download SKU: A0.1426426 By Coven. By Brian Potter and Dennis Lambert. Arranged by Rita Arendz. 20th Century,Film/TV,Pop,Rock. 9 pages. Rita Arendz #1007122. Published by Rita Arendz (A0.1426426). First recorded by Canadian Pop group The Original Castle in 1969, One Tin Soldier was featured in the 1971 American action drama independent film Billy Jack, sung by Jinx Dawson, the lead singer for American Rock Band Coven.The song became one of the most potent counterculture songs of the 1960s and took on a life of its own as an anti-war song during the long Vietnam War.This arrangement for British Brass Band instruments (Cornet, Eb Horn, Bb Euphonium TC) was first performed at a Remembrance Day ceremony.  It is a strong reminder that peace is far better than greed and violence.  Alternate parts for French Horn and Bass Clef Euphonium are included.Duration 3:15   9 pagesSound clip generated by NoteperformerMore Arrangements by Rita Arendz:https://www.sheetmusicdirect.com/Search.aspx?query=rita%20arendzhttps://www.sheetmusicplus.com/en/explore?q=rita+arendz&lang=default.

Clarinet, bassoon, trumpet, viola, piano - Digital Download SKU: IZ.PDP100 Composed by David Diamond. Score and Parts. 97 pages. Imagine Music - Digital #PDP100. Published by Imagine Music - Digital (IZ.PDP100). 9 x 12 in inches.The Chamber Symphony dates from his New York period before he studied with the legendary Nadia Boulanger (1887-1979) at the American Conservatory outside of Paris. Like other works from his early 20s, this piece exhibits an extraordinary grasp of structure and overall design within a tonal harmonic language. The unusual scoring (clarinet, bassoon, viola, trumpet, and piano), like so many other chamber pieces written between the two World Wars, shows the influence of Igor Stravinsky (1882-1971), who would later become a close friend of the young American. The Chamber Symphony was premiered on 7 May 1937 at the Federal Theater in New York City. Jacques Gordon conducted the WP A Ensemble. Evidently the group was under-rehearsed and Diamond was not happy the performance. Thinking that the fault lay with the composition itself, he consigned the score and parts to a trunk in the attic of the family home in Rochester where it remained for over fifty years. I ran across a reference to the Chamber Symphony in the early 1990s and telephoned David Diamond to ask if I could get a copy of it. Thus began a sporadic exchange of telephone calls and postcards over the next five years. Among other things, we discovered that his parents and my paternal grandmother had come from the same region of Ukraine. Eventually he tottered up to the attic and sent me a copy of the score, with his penciled corrections, and his original parts, which I photocopied and returned to him. I performed the piece with colleagues at Kansas State University and sent Diamond a copy of the recording. He was ecstatic with our performance and told me I wonder why I've suppressed it for all these years? I got to meet David Diamond in June 2000 and we discussed the possibility of trying to get the Chamber Symphony published. He averred that his regular publishers wouldn't be interested owing to the limited market for such a work. A year after David Diamond's death I began my venture into music publishing and contacted Sam Elliott, a close friend of the composer's who serves as the executor for his estate. Mr. Elliott was happy to hear that I wanted to publish the Piece through Prairie Dawg Press and gave his kind permission to do so. I hope that my colleagues will enjoy this work as much as I have and that it will receive frequent performances.