Guitar,Piano - Level 3 - Digital Download SKU: A0.995055 By Lil Nas X. By Atticus Ross, Billy Ray Cyrus, Jocelyn Donald, Kiowa Roukema, Montero Hill, Montero Lamar Hill, and Trent Reznor. Arranged by Mark McCarron. Contemporary. Score and part. 5 pages. Great Neck Music #5221673. Published by Great Neck Music (A0.995055). Guitar, Bass, Piano Wedding Band, Bar Band, Live Karaoke Band.

Guitar,Piano - Level 3 - Digital Download SKU: A0.747040 By Elton John. By Bernie Taupin and Elton John. Arranged by Keith Terrett. Pop,Rock. Score and part. 6 pages. Keith Terrett #5946201. Published by Keith Terrett (A0.747040). Arranged for Vibraphone/Marimba & Piano, Sorry Seems to Be the Hardest Word is a song written by Elton John and Bernie Taupin. It was recorded by Elton John and released in 1976, both as a single and as part of the Blue Moves album. It was John's second single released by The Rocket Record Company. The song is a mournful ballad about a romantic relationship which is falling apart.The song also appeared the following year on Greatest Hits Volume II, though for copyright reasons it no longer appears on the current version of that album. It now appears on Greatest Hits 1976–1986, The Very Best of Elton John and in Greatest Hits 1970–2002, as well as a number of other compilations.The song was covered in 2002 by English boy band Blue for their second studio album, One Love (2002). The song was recorded as a collaboration with Elton John, and was the second single from the album. It peaked at number one on the UK Singles Chart on 15 December 2002 and also reached number one in Hungary and the Netherlands. It peaked within the top 10 in an additional 16 countries.In 2004, Elton John and Ray Charles performed the song on Charles' duet album, Genius Loves Company. It would turn out to be the last recording Charles ever did before his death that June. The duet was nominated for a Grammy Award for Best Pop Collaboration with Vocals. It was also performed by smooth jazz saxophonist Kenny G on the soprano saxophone featuring Richard Marx on his 2004 album At Last...The Duets Album later that year.The song was a Top 20 hit, reaching No. 11 in the United Kingdom, No. 6 in the United States and No. 3 in Canada. In addition, the song went to No. 1 on the US and Canadian Adult Contemporary charts. In the US, it was certified Gold on 25 January 1977 by the RIAA.The single was the lead single for the eight-track remix compilation Good Morning to the Night in collaboration with Australian remixer Pnau, which came out on 16 July 2012.

Guitar,Piano - Level 3 - Digital Download SKU: A0.522715 Composed by John Newton, Scott Joplin, Virginia Harmony. Arranged by John A. Dempsey. Christian,Praise & Worship,Ragtime,Sacred,Traditional. Score and part. 10 pages. John A. Dempsey #2837075. Published by John A. Dempsey (A0.522715). The classic hymn Amazing Grace has been merged stylistically with Scott Joplin's rousing ragtime favorite The Entertainer to give this arrangement a joyful, exuberant touch.  A duet for guitar and piano, it's a heady mix of praise and worship recommended as a prelude, postlude, an offertory, interlude and special music for traditional church services and other worship events.  Also makes an inspiring, crowd-pleasing selection for concerts and recitals.   Key: C major. 7 pages (that includes a separate one-page guitar part).  Guitar Level: Intermediate.  Piano Level: Late Intermediate.

Guitar,Piano - Level 4 - Digital Download SKU: A0.1371176 Composed by Emiliano Brunetti. Chamber,Contemporary. Score and part. 12 pages. Emiliano Brunetti #955426. Published by Emiliano Brunetti (A0.1371176). Spandex-Hendrix is a celebration of both my origins as a performing musician and who I am now as a composer. I used to be ashamed of not being classically trained since my childhood – but now I celebrate those experiences by embracing and celebrating my culture and influences. Spandex-Hendrix serves as a portrait to my teenage years, being able to enjoy from the loudest version of Voodoo Child (Hendrix) to the magical experience of Because (Beatles). This piece is my first attempt to explore atonality through the use of the pitch class set theory. I took the Hendrix Chord (C – E – Bb – Eb), inverted its direction starting from the same root (A – D – Ab – C) and mixed the result in a new scale (C – D – Eb – E – Ab – A – Bb).