Large Ensemble Bassoon,Clarinet,English Horn,Flute,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.533710 Composed by Carson Cooman. Contemporary. Score and parts. 83 pages. Musik Fabrik Music Publishing #3041105. Published by Musik Fabrik Music Publishing (A0.533710). I. Murky WatersII. The ForgottenIII. Casting InfinityEnchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble was commissioned for a consortium of Donna Amato, piano, the Carnegie Mellon Wind Ensemble, Denis Colwell, conductor; Keith Kirchoff, piano, the Harvard Wind Ensemble, Thomas G. Everett,Mark Olson, conductors; and Nora Skuta, piano, the Slovak Radio Symphony Winds, Kirk Trevor, conductor. These three marvelous piano soloists served as the inspiration for the work. The concerto bears the dedication “for Walter Simmons, a hero for the cause of American music.� Musicologist Walter Simmons has been an inspirational and passionate advocate for seriousAmerican concert music for nearly his entire life. Through his tireless efforts as author, critic, recordand concert producer, and lecturer, Walter has brought myriad composers and works to muchdeserved attention. The basic musical material for the entire work is presented near the outset, the pitches Eb – D – G –Ab – E. This cell is used throughout the rest of the concerto both motivically, in transformation, and as a harmonic structural device. Its harmonic identity creates the mix of tonal/modal and atonal constructs that are a preoccupation of my music. The concerto’s title provided the poetic idea behind the musical development. Though more or less equal with the ensemble in the first movement, the piano clearly takes over as leader in the second and third movements as the goaldirected formal narrative of the movements becomes more obvious. The first movement, Murky Waters, is a free fantasy in which the piano and ensemble “unpack� the musical potential of the basic material. A number of melodic ideas emerge—some lyrical and some disjunct. A brief coda prepares for the next movement. The second movement, The Forgotten, is a lament led by the piano. The harmonic colors of thepiano’s sustaining sounds interact with the more linear textures of the winds and brass. The third movement, Casting Infinity, is purposeful and structured as a march with trio. The spiky melodic material is treated in a variety of manners (including very tonally within the trio) before areturn of material from the first movement pushes the concerto towards its conclusion.InstrumentationPiccolo2 Flutes2 OboesEnglish Horn2 Clarinets in BbBass Clarinet in Bb2 BassoonsContrabassoon4 Horns in F3 Trumpets in C2 TrombonesTubaTimpaniPercussion (2 players)I: crotales, bass drum, tenor drumII: vibraphone (motor off), suspended cymbal(Percussion II needs one rosined bow.)Solo Piano(The above scoring is exact—with a single player on each part. Under no circumstances, should the work be performed with any substitutions, doublings, or increase of players on individual parts.)This is the full score and the solo part.  The complete parts and seperate parts are available for sale on this site.

Large Ensemble Bassoon,Clarinet,English Horn,Flute,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.533711 Composed by Carson Cooman. Contemporary. Score and parts. 76 pages. Musik Fabrik Music Publishing #3041107. Published by Musik Fabrik Music Publishing (A0.533711). Enchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble wascommissioned for a consortium of Donna Amato, piano, the Carnegie Mellon Wind Ensemble,Denis Colwell, conductor; Keith Kirchoff, piano, the Harvard Wind Ensemble, Thomas G. Everett,Mark Olson, conductors; and Nora Skuta, piano, the Slovak Radio Symphony Winds, Kirk Trevor,conductor. These three marvelous piano soloists served as the inspiration for the work. Theconcerto bears the dedication “for Walter Simmons, a hero for the cause of American music.â€�Musicologist Walter Simmons has been an inspirational and passionate advocate for seriousAmerican concert music for nearly his entire life. Through his tireless efforts as author, critic, recordand concert producer, and lecturer, Walter has brought myriad composers and works to muchdeservedattention.The basic musical material for the entire work is presented near the outset, the pitches Eb – D – G –Ab – E. This cell is used throughout the rest of the concerto both motivically, in transformation, andas a harmonic structural device. Its harmonic identity creates the mix of tonal/modal and atonalconstructs that are a preoccupation of my music. The concerto’s title provided the poetic ideabehind the musical development. Though more or less equal with the ensemble in the firstmovement, the piano clearly takes over as leader in the second and third movements as the goaldirectedformal narrative of the movements becomes more obvious.The first movement, Murky Waters, is a free fantasy in which the piano and ensemble “unpackâ€� themusical potential of the basic material. A number of melodic ideas emerge—some lyrical and somedisjunct. A brief coda prepares for the next movement.The second movement, The Forgotten, is a lament led by the piano. The harmonic colors of thepiano’s sustaining sounds interact with the more linear textures of the winds and brass.The third movement, Casting Infinity, is purposeful and structured as a march with trio. The spikymelodic material is treated in a variety of manners (including very tonally within the trio) before areturn of material from the first movement pushes the concerto towards its conclusion.InstrumentationPiccolo2 Flutes2 OboesEnglish Horn2 Clarinets in BbBass Clarinet in Bb2 BassoonsContrabassoon4 Horns in F3 Trumpets in C2 TrombonesTubaTimpaniPercussion (2 players)I: crotales, bass drum, tenor drumII: vibraphone (motor off), suspended cymbal(Percussion II needs one rosined bow.)Solo Piano(The above scoring is exact—with a single player on each part. Under no circumstances, should thework be performed with any substitutions, doublings, or increase of players on individual parts.)This item contains the complete wind ensemble parts.  The score plus solo part are for sale as another item.  Individual parts are also for sale.

Two Violins, Piano - Digital Download SKU: IZ.PDP300 Composed by Rebecca Clarke. Score and Parts. 52 pages. Imagine Music - Digital #PDP300. Published by Imagine Music - Digital (IZ.PDP300). 9 x 12 inches.Clarke worked on the Pieces for Two Violins and Piano during 1909, her last year at the Royal College, when Danse Bizarre gained her a scholarship. Clarke mentioned Danse Bizarre in her typescript memoir composed in the 1970s, and also discussed it with me in 1977 while helping me catalogue her compositions, but she said then that it was long lost, and made no mention of any related material. In the year 2000, however, Clarke's great-nephew Daniel Braden found.a box that Clarke had put in the back of a closet decades before and evidently forgotten, which turned out to contain a chaotic assortment of letters, papers, medical records, and music-manuscript sheets. When put in order, the latter yielded the missing inner leaf of an important viola piece and a number of previously unknown or presumed-lost arrangements and compositions, including ''Danse Bizarre and a Prelude, a Nocturne, and the beginning of a Finale for the same instruments, on the same paper, and bearing similar markings in Clarke's hand and in at least one other hand, which may well be Stanford's. The four movements were plainly developed as a suite, although there is nothing to suggest a sequence for the inner movements, and no compelling reason to believe that the Finale ever got beyond the extant eight pages. The manuscript of the Finale is noticeably rougher than those of the other movements, and several pencil-markings, apparently in another hand, suggest that some of its motivic material had not yet jelled. It seems entirely possible that Clarke had only begun this movement when a family crisis forced her to leave the College, and that she never returned to it. In any case, there is not enough of the Finale to make performance feasible, but the other movements stand quite magnificently on their own. They were recorded by Lorraine McAslan, David Juritz, and Ian Jones on Dutton CDLX 7132, released in 2003. The first public performance, by students at the Royal College under Jones's supervision, took place in May 2005 in the College's Concert Hall, where Clarke had last performed nearly a century before.

Piano,Trombone - Level 5 - Digital Download SKU: A0.810983 Composed by Cherry Classics Music. Arranged by John, W., and Ware. 20th Century,Contemporary. Score and part. 63 pages. Gordon Cherry #4601711. Published by Gordon Cherry (A0.810983). This fine work has sat dormant for many years and has now come to light thanks to the efforts of Charlie Vernon, Bass Trombonist of the Chicago Symphony, who performed this virtuoso work as a young performer. The concerto is in the standard three movement form: Fast, slow, fast. This publication is a reduction from the original orchestral version (to be released at some point in the future). Here is a description of the Concerto by the composer, John W. Ware. I started on the trombone concerto in my junior year studying composition at Indiana University.  While working on it, I learned of an opportunity to make it sort of a thesis piece (though students didn't write a thesis in composition while an undergrad).  The original version was for trombone with string orchestra, and it was performed by the IU String Orchestra, conducted by Dr. Arthur Corra, with Robert Priez, trombone, as part of my senior composition recital.  I thought the performance was quite good (Priez played extraordinarily well), and the piece received a newspaper review in the Indiana Daily Student, in which the reviewer wrote that the work was almost too exciting.  I thought at the time that he had given me and my music a fine compliment.  I made a piano version of the accompaniment, shortening and tightening the first movement, for performances in 1966; I made a second revision in 1967 for a performance by E. J. Eaton, trombonist at the University of Tennessee at Martin, arriving at the form in which the work exists now. The first movement is in fairly normal sonata-allegro form, in the key of A minor.  It alternates between assertive and more thoughtful moods.   There is no introduction; the soloist enters immediately and dominates much of the movement. The main theme is--by some manipulation--a source for most of the other themes, and all of the themes are used in close proximity to each other, including contrapuntal combinations, especially near the end.  Originally the movement included a lengthy fugato, now much shortened and including a stretto that builds and subsides before a cadenza leading to a coda based on both the principal and secondary themes.  Key relations in this movement, as in the other two, are quite free and often chromatic, with frequent third-relations; but returns to the tonic at the end are emphatic.  The writing is challenging for both soloist and accompanist; the piece is substantial, requiring technique and stamina. The second movement is in F minor and is also built on both contrast and close relationships between the main and secondary themes.  The main theme is heard in the piano part before the soloist enters.  The mood is more lyric than in the first movement, but with dramatic episodes also.  In this movement are some definite derivations from themes in the first movement.  The ending is a sort of lengthened shadow of the opening. The finale returns to A minor, with themes slightly related to polonaise rhythms, but with strong echoes of first-movement themes.  Here, too, dramatic and lyric episodes alternate, with dotted rhythms frequently propelling the music forward.  The introduction is a brief and simple preparation for the solo entry.  Later in the movement, a very brief, slightly slower section is soon overtaken by the original tempo.  Toward the end, there is a second cadenza, again leading to a swift and energetic coda. The work is about 20 minutes in length and is appropriate for advanced performers.

Brass Quintet - Level 4 - Digital Download SKU: A0.1489490 Composed by Dr. Daniel N. Thrower. Chamber,Classical,Historic,Patriotic. 38 pages. Https://gildedmusicpress.com/ #1066354. Published by https://gildedmusicpress.com/ (A0.1489490). Three of these seven short pieces are worthy to open any brass quintet concert or recital.  Two fanfares are too short for a concert feature but work extremely well in a ceremony or celebratory setting.  The last two short pieces aptly serve contrasting special purposes, as explained below.“Fort Pierre Fanfare” is about 40 seconds in duration, and was composed to open the feature concert at the South Dakota Bandmasters Association convention in 2022.  Offutt Brass, from the US Air Force Heartland of America Band, was invited to perform that concert.  Before the final piece of the concert, when gifts were exchanged between the sponsor and performers, beautiful presentation copies of the sheet music were presented to the sponsor.  In performance, staging directions on the music can be extremely effective or cringy, depending on how they are conveyed.  If there is any inkling that there may be a cringe factor, ignore them, and play the fanfare already on stage.“Enduring Freedom Fanfare” is nearly a minute of music.  It was composed as a gift for the outgoing Commander of the US Air Force Heritage of America Band, Major Rafael Toro-Quiñones.  His leadership was strong and inspiring, and he held a place of high esteem among many of the fine military musicians that he led.  The Change of Command ceremony was toward the end of the Covid-19 shut-downs, so the work was not performed at the ceremony.  Chief Remley, from the command’s satellite location in Nebraska, hand-delivered some finely printed presentation copies to Major Toro-Quiñones.“Noble Eagle Fanfare” is slightly over a minute in length, and, like “Enduring Freedom Fanfare,” was composed as a gift for another outgoing Commander of the US Air Force Heritage of America Band, Captain David Neil Regner.“Pilgrims’ Fanfare” was composed on what many Americans acknowledge as “Pioneer Day,” 24 July 2023.  Not only honoring the thousands of pioneers that settled the western United States, but also the pilgrims that voyaged across the ocean to settle in the new continent.  It is about 15 seconds in duration and is effective for any occasion in need of a magnificent fanfare.“Flightline Fanfare,” as its title implies, was composed for the ribbon cutting ceremony of the dedication of the newly renovated flightline at Offutt Air Force Base in Nebraska.  Unfortunately, the ceremony itself was altered last-minute, and the 15-second fanfare was not used.  However, like “Pilgrims’ Fanfare,” it is very handy for any event demanding a splash of pomp.“American Interlude” is a soft 75-second underscore for an MC’s moving speech or dedication.  It was originally composed as a smooth segue between two moving patriotic pieces of different keys in a concert setting, but can be used in any similar appropriate situation.“Troop 184” is dedicated to my childhood BSA Scoutmaster, Gerry Nielson, who molded me in significant ways into the man I am decades later.  It is functional music, akin to a fight song, and can be easily marched to.  Words may be crafted as a customized hiking ditty, or it can be featured before or after ceremonies as prelude or processional music.  The duration can also be customized, as there is a written optional repeat, lengthening the tune from 45 seconds to a minute and a half.

String Trio Cello,Viola,Violin - Level 2 - Digital Download SKU: A0.1236879 By Sarah Flower Adams. By Sarah Flower Adams. Arranged by Flavio Regis Cunha. Classical,Easter,Film/TV,Sacred,Wedding. 8 pages. FRC Music #832261. Published by FRC Music (A0.1236879). Do you want to bring history alive through music? Capture the emotions of one of the greatest tragedies in history?   Introducing the sheet music for Nearer My God to Thee from the motion picture Titanic - arranged for two violins and the violoncello by Flavio Regis Cunha. Brought to you from the dramatic story of the RMS Titanic in 1912, this beautiful tribute to the legacy of that tragedy has been preserved in this piece of music.  Whether you are an amateur or a professional string player, this is the perfect way to explore the history of music and experience the emotions of that fateful night. The music is not only an emotional experience but also an educational tool for musical exploration.  Relive the true history of music with Nearer My God to Thee now.Easy Intermediate.Format: Concert, 9 x 12 inches.7 pages.NotesNearer My God to Thee (From The Motion Picture TITANIC). The hymn is well known, among other uses, as the alleged last song the band on RMS Titanic played before the ship sank and was sung by the crew and passengers of the SS Valencia as it sank off the Canadian coast in 1906.

Full Orchestra - Level 5 - Digital Download SKU: A0.1315331 Composed by Geraldine (Denny) Green. 21st Century,Classical,Contemporary,Romantic Period. 468 pages. Geraldine (Denny) Green at Oakmountmusic #904077. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1315331). Duration : Approx. 30 minutesInstrumentationFlutes 1&2Piccolo/Flute 3Oboes 1&2Cor AnglaisClarinets 1&2 in BflatBass Clarinet in Bflat (To Low C)Bassoons 1&2Horns 1 – 4 in FTrumpets 1&2 in BflatTenor Trombones 1&2Bass TromboneTubaTimpani – 4Bass Drum, Sleigh Bells, Temple Blocks, Maracas, Cymbals – Crash and Suspended Snare Drum,Tambourine Triangle Tubular Bell (only 1 B bell required) Glockenspeil XylophoneCelestaHarpViolins 1&2ViolasCellosDouble BassesAbout The WorkOn Tuesday March 24th 2020, one day into the first UK national Lockdown at the start of the worldwide Covid-19 Pandemic, my Mum died! She was 91 and had been poorly with many different illnesses for the previous 6 months, so we knew it was coming. But the timing and unfathomable sadness of her death, together with the start of a worldwide pandemic, little did I know it at the time, was to bring forth from me a tsunami of music the likes of which I hadn’t written for many years. A set of six solo studies for various members of the clarinet family came first, written between March 20th and April 20th. As I wrote them they were orchestrating themselves in my head and forming something else as well. That “something else� grew and grew, as the Six Studies intertwined themselves around each other and expanded together, joining forces with two brand new themes to form what soon was to become an immense orchestral work. The title was easy. Glastry is a tiny district in the middle of the Co.Down countryside of Northern Ireland, where my Mum was born and brought up. And Pearl was her name. Her full name was actually Margaret Mary Ward (eventually to become Denny when she married my Dad, Colum Denny, from Belfast), but everyone always called her Pearl. The nickname was bestowed upon her just after she was born on February 28th 1929 and stuck ever since.The Glastry Pearl is a tribute to my Mum and the great and mighty person she was to me and all who knew her. It employs at least one theme or motif from each of the Six Studies For Various Solo Clarinets and uses them throughout the work in the from of Leitmotifs. It was only when the work was nearing completion that I began to wonder how to describe it. Freddy Naftel, a good composer friend of mine, suggested that Tone Poem was a fitting description and I immediately agreed. The music itself is completely tonal and highly Romantic, yet also peppered with exciting contemporary disonance. I believe it to be a good, and hopefully fun, challenge to symphony orchestras, both professional and high standard amateur alike. It offers everything from the the somber opening to the hilarious and wildly energetic central Waltz, to the glorious soaring final section, so plenty of variety to please many palates.

Piano Solo - Advanced Intermediate - Digital Download Composed by Joseph Dillon Ford. 21st Century, Contemporary Classical, Impressionistic. Score. 22 pages. Published by David Warin Solomons

Violin and orchestra - Digital Download Completed and orchestrated after the sketches of Debussy by Robert Orledge. Composed by Robert Orledge and Claude Debussy (1862-1918). Arranged by Robert Orledge. This edition: vocal/piano score. Violin Library. Downloadable. Duration 10 minutes. Schott Music - Digital #Q46518. Published by Schott Music - Digital

Concert Band - Level 4 - Digital Download SKU: A0.891956 Composed by A.E.Williams. Arranged by Stephen Davies. 20th Century,Standards. Score and Parts. 74 pages. Stephen Davies #6094485. Published by Stephen Davies (A0.891956).    CLARINET CONCERT CONCERTINO FOR WIND BAND I don’t normally enter long descriptions of my arrangements, nothing worse than seeing that little sign on the bottom right saying ‘see more’, however this piece has a rather interesting story that I’d like to share with you! It was maybe 8 or 9 years ago that I helped in the library of the Band Of The Guards Association, a group of musicians who were all members of the Household Division Bandsin London, that is to say the Grenadier, Coldstream, Scots, Irish, Welsh, Life Guards and Blues & Royals bands, chiefly known the world over for Changing The Guard at Buckingham Palace and many other ceremonial occasions. The Band Of The Guards Association were privileged to rehearse at the Royal Hospital Chelsea, home of the famous Chelsea Pensioners, renowned for their Redcoats and medals as veterans of the British Army. Our library of music for the band at the time was held in an air raid shelter deep in the cellars underneath the labyrinthine corridors of the old building built by Sir Christopher Wren back in the 1680’s. When I say ‘air raid shelter’, that is exactly what it was like! Can’t go into too much detail, but suffice it to say that it was like being transported back in time! But this is where the library was kept, complete with dusty shelves, blackout warnings, obsolete bulb replacements and tunnels to the Thames! The man in charge of the library was Mr.Gordon ‘Joe’ Stafford, former Solo Clarinet with HM Band Of The Welsh Guards (ret’d), a fine player of that instrument in his day, and revered as such even now. About 8 years ago, our ‘underground ‘ library was deemed a fire hazard, and we were ‘invited’ to move it elsewhere. As we had our practice room nearby in the Chelsea Hospital, we decided to relocate the whole library there, shelving being built and constructed by enthusiastic band members. Joe Stafford and myself were not particularly enthusiastic about this, but it had to be done. Having looked at the enormous amount of music to be moved, we thought about ditching some of the scores which would never be played again, for instance selections of musicals long forgotten, scores with multiple missing parts etc. Lots of that music went to local music organisations simply for sight reading purposes, and the more complete versions went to bands and orchestras to bolster their stock of scores. After the laborious sorting out in the air raid shelter, Joe and I had the unenviable task of discarding the scores and parts that were incomplete, defaced, or just basically useless. It was an arbitrary case of ‘keep or throw’, and at the time we were doing this, Joe was desperate for a pint in the bar! I agreed, and was anyway on my last batch of throwaways when I found a piece titled ‘Clarinet Concerto’, by A.E.Williams. Written in pencil, with ancient sellotape, and signed by all the people who played it many years ago, including the Soloist and composer, I thought that that should not be binned, so I kept it! Joe Stafford suggested that I should ‘get it out there’ , so I have. Incidentally it has a cracking Cadenza towards the end, it was a bit smudged in the original score, but I’ve filled in the gaps!! This would be an ideal addition to the band repertoire for Clarinet!

Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.889416 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Standards. 31 pages. Luis Anjos Teixeira #3485727. Published by Luis Anjos Teixeira (A0.889416). 2018 Chamber Music Contest EntryAs a violin player this was always one of my beloved pieces and it has accompanied all my Life. The G minor Fuga is the most compact of the three fugues in the volume for violin solo (and note that in this versions they are not in fact fugues in the proper sense of the word, but rather a kind of fugue/Baroque-concerto hybrid form). It was also transcribed for lute by Bach at some later time (BWV 1000). My arrangement is based on a version of this piece for the organ made by Bach himself - BWV 539. I follow very intimately the organ version, not adding or letting out any of the original notes. As an arrangement I transposed it to H-Minor and some of the notes where made through the interpretation symbols more or less shorter in order to accentuate the polyphonic, rhythmic and natural dynamic of the piece. I also added some legatos. Crescendos, or fortes and similar indications are left out like in the original, waiting for your own interpretation. In the musical consciousness of Bach the polyphony and dialog between the voices were a projection of an ideal world for the Human Society and this should be in the first line of focus and in the mind of all the members in the group. The power of this piece comes from within its structure and relays in its polyphonic dimension. Allow yourself to focus on the Art of enhancing the beauty of this dialog, the bless of communicating with each other. Bach is Love - Love each another I really advise all performers to have a very humble and sensitive approach in the interpretation of this piece towards loudness because you will have to be listening to each other very carefully while performing. Linear time, sound and silence are the basic of dynamic expression. Dynamic will than happen naturally and without much effort when bringing the „Art of playing the silence and the Art of the „duration of the notes to a state of consciousness within the whole piece itself. Often in the old music notation the duration of the notes is longer written in the score then it should be played. Understandable because It takes a lot more time for a composer to write in detail the sound and the silence than to write only the raw length of the notes! Back in those times the performing artists were trained very well to read their raw parts and became very skilled in making their own thing out of the scores so the composers did not have to worry with so much detail like nowadays. In some scores we even find words like:-„please play this note simply as written and without embellishments! On the original score of the Fuga a sixth voice joins the group between bars sixty and sixty one and this voice can be heard very well in the sound file. This „Ghost voice is noted on the clarinet part as an extended possibility. To play it with just one clarinet is absolutely possible as well as arbitrary. Do at will some experiments and let than the group decide. In case of doubt play simply the bottom voice or let yourself get inspired with the sound file. One of my suggestions would be also to play the bottom line as long as the other one is silent, than jump to the upper voice as it comes in and go back again to your usual voice while the other voice „takes a break. This work brought me a new insight into the consciousness and the universal nature of Bach`s music. It requires high skilled and experienced artists to execute. The score was written on Finale. The sound file For the 2018 Chamber Music Contest Entry, was performed with samplers from Garritan and conceived as an audio support for the presentation of the score. Thank you very much f.

Piano Solo - Level 3 - Digital Download SKU: A0.1241720 Composed by Sarah Baker. 21st Century,Children,Classical,Comedy. Score. 24 pages. Forsyth Brothers Ltd #837056. Published by Forsyth Brothers Ltd (A0.1241720). Suitable for players of around grade 4-5 standard, these evocative sound pieces describe a crash-landing hot air balloon, garden invading cows and a even a snake in a pond!Sarah Baker is Vocal Composer in Residence for Services at Education Music Services, an ABRSM examiner and a well known composer of songs and musicals for primary schools and massed-choral events. All this experience has come together in the creation of this album of piano pieces, inspired by growing up in the Chiltern Hills.Contents:Air Balloon!Buzzards CirclingThere’s a Cow in the Garden Eating the FlowersWatching the World Go ByAutumn SkiesFriendsSnake in the PondMorning CommuteThe Witch's CottageComposer’s NotesAir Balloon! One vivid memory I have as a child is of the day that a hot air balloon passed over our house and made an emergency landing on the road in front!  It was both terrifying and exhilarating to watch the balloon float past and then land so near by.Buzzards Circling There is something so calming and restful about watching birds of prey circling in the thermal currents of a summer sky. This piano solo captures the beauty of their flight as they glide so effortlessly through the air.There’s A Cow In The Garden Eating The Flowers Inspired by the memory of seeing an unexpected cow in the garden! This surreal image is captured in a quirky waltz, as I portray both the absurdity of the moment and the sense of wonder I felt as a child. The final phrase articulates my longing: ‘I wish it would come again’.Watching The World Go By A short, reflective piece, remembering what it was like to have time to just sit and watch the world go by from my bedroom window.Autumn Skies A miniature about the beauty of Autumn skies and the poignant sense of loss for a summer gone.Friends I was fortunate to have several children of my own age living close by. We seemed to be forever making dens, playing out in the street and generally enjoying each other’s company. This piece reflects that sense of well-being.Snake In The Pond One hot summer I was astonished and scared to see a grass snake cooling off in our garden pond! I watched, both horrified and fascinated, as it rose up from the depths and then disappeared again.Morning Commute I recollect many mornings stuck in traffic as my Dad took me to school on his way to work. We may not have chatted a lot, but it was always good to be together with my Dad, lost in our own thoughts.The Witch’s Cottage My siblings and I had a fascination with a small cottage nearby. It was set back from the road in a dark part of the woods and we called it 'the witch's cottage’. Every time we passed, I imagined I heard the distant cackle of the witch and wished I could catch a glimpse of her.These pieces are written to complement my other collection, Night Time Impressions, which also draw on childhood recollections, particularly of the woods behind the house where I grew up.Sarah Baker2023.

Saxophone-Quartett - difficult - Digital Download For saxophone quartet. Composed by John Casken (1949-). This edition: score and parts. Downloadable. Duration 8 minutes. Schott Music - Digital #Q6251. Published by Schott Music - Digital

Easy Guitar (with TAB) - Level 1 - Digital Download SKU: A0.1047465 By Dan Jones (www.danjonesguitarist.com). By Dan Jones. Blues,Folk,Rock. Tablature. 5 pages. DanJonesGuitarist #652027. Published by DanJonesGuitarist (A0.1047465). Three Pieces for Beginner Guitarists (Acoustic or Electric) by Dan Jones Presented in notes, TAB and easy chords (www.danjonesguitarist.com) As an active guitar teacher, I find that many beginner pupils want to learn either acoustic (steel string) guitar or electric guitar. I have also found a lack of quality resources in these styles which have musical interest, and which lay out some of the necessary technical and musical foundations for future learning. I composed these three little pieces for my own young students. They are played by those using their right-hand fingers, and a plectrum and I’ve found them to be very popular in both lessons and performance. The pieces can be learnt in any order (I have a slight preference for starting my pupils with D-Day Rock - the third in the collection). Below is an outline of the pedagogy behind them (1) Sore Finger Blues This is a simple twelve-bar blues which uses a combination of open strings and notes at the third and second frets. It can be played with a straight or swung rhythm. It is effective at a slow tempo for those needing time to place the fretting hand fingers. The main technical challenge is in bars 10 and 22 where the player moves the third finger between the G and A on string 1. Although this is traditionally an advanced technique, I’ve found my students find it comfortable, as long as the fingering outlined in the notes is followed. The chords are dominant (with major thirds). These clash against the minor pentatonic scale in a way which is typical of the style. The chords are quite simple for beginners. I have opted for a D5 power-chord in bars 9 & 21 which is easier than the usual D chord (which also works perfectly well). Plectrum players should be sure to anchor the plucking hand, either with the side of the hand resting on the bridge, or a finger against the scratch plate of the guitar. Fingerstyle players can anchor either with a finger touching the scratch plate of the guitar, or by resting the thumb on a bass string when the fingers are plucking, or vice versa. This is more typical of classical style. (2) Cross-String Traffic This piece was conceived as a fingerstyle piece, although it can be played using a plectrum. The challenge for plectrum players is to cross the strings smoothly. It is for this reason that the fretting hand is relatively simple so that learners can concentrate on the plucking hand. Players are also encouraged to press down the index finger on string 2 at the correct angle to allow the first string to resonate. Chords have once again been chosen to suit less-experienced fingers; therefore, I have opted for Dm6 instead of the more common Dm (a very tricky chord for beginners). Players should go for maximum resonance and notes played at fret 3 could be fretted with either fingers 3 or 4. (3) D-Day Rock This piece is made nearly entirely of open strings and third fret notes. Where there is string crossing, the music allows the player ‘thinking time’ to change accordingly. Teachers and learners can decide with which finger to press the third fret notes. The rhythmic complexities from bar 13 to the end pose no problems once players have the sound of the piece in their ear. Once again, chords have been selected for ease of playing. The Gm/D chord can be played with a 3-string barre (often quite easy for beginners where no fretted bass note is required) or using three separate fingers. The pedal D sounds effective musically. I have presented these pieces as ensemble works with large groups of beginners. Players and audiences alike have been very receptive! For a wealth of music for beginners, ensembles and advanced players, please visit www.danjonesguitarist.com. A YouTube link to a film of the pieces will be uploaded before the end of June 2022.

By Sharon Wilson. By Alice Hawthorne, Charles C. Converse, Clement C. Scholefield, Henry Barraclough, Ira D. Sankey, Various, Septimus Winner (1827-1902), William J. Kirkpatrick, Fanny J. Crosby (1820-1915), Lowell Mason (1792-1872), and William H. Doane. Arranged by Sharon Wilson Music. 163, Christian, Holiday, Sacred, Wedding. Score. 37 pages. Sharon Wilson #712175. Published by Sharon Wilson