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Choral Choir (TTBB) - Level 2 - Digital Download

SKU: A0.1270160

By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160).

For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.

Wanna hear something? You know that Indians never ate clams. They didn't have linguini!
And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.

Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!

Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.

I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.

You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.

So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?

So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.

Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.

He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.

That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.]

Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.

You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...

I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.

Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.

The Story Of Reuben Clamzo & His Strange Daughter
Chorale TTBB
Arlo Guthrie
$3.99 3.7 € Chorale TTBB PDF SheetMusicPlus

B-Flat Clarinet,Piano - Level 3 - Digital Download

SKU: A0.549575

Composed by Edvard Grieg. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Standards,World. Score and part. 18 pages. Jmsgu3 #3509361. Published by jmsgu3 (A0.549575).

Duration: ca. 2:17 Score: 10 pages, solo part: 2 pages, piano part: 5 pages. A proven audience pleaser - perfect for a recital encore!

Grieg Background

In the first place, Edvard Grieg (1843 –1907) was a Norwegian composer as well as a concert pianist. As a matter of fact, most music historians consider him one of the foremost Romantic era composers. Consequently, his music is part of the international standard classical repertoire. Grieg moreover used Norwegian folk music in his own compositions.  Consequently, he ushered Norwegian music to transnational consciousness. Furthermore, he forged a national musical identity for Norway. It is important to realize that he did this in a manner similar to Jean Sibelius in Finland, and BedÅ™ich Smetana in Bohemia.

Legacy

Grieg is especially celebrated in the city of Bergen. For example, the city has erected numerous statues depicting Grieg. Specifically, the city has named a concert hall (Grieg Hall), a music school (Grieg Academy) and a professional choir (Edvard Grieg Kor) after him. As a matter of fact, there is also a museum located at his former home in Troldhaugen.

Peer Gynt Suite No. 1 (Op. 46)

Grieg wrote incidental music for the purpose of illustrating a play by Ibsen known as Peer Gynt. The play includes, in particular, the famous selection entitled, In the Hall of the Mountain King. In this composition, Grieg indeed depicts the exploits of the scoundrel, Peer Gynt. In one famous episode, for example, Peer steals a bride at her wedding. For this reason, the people chase him, but soon Peer falls, thereupon striking his skull on a boulder. He wakens forthwith in a highland bounded by angry gnomes. Consequently, the music of In the Hall of the Mountain King represents the mad gnomes taunting Peer. Therefore, each time the theme repeats it gets louder and faster. In the end, Peer surprisingly escapes from the mountain.

Holberg Suite and Misc. Summary

It must be remembered that Grieg originally wrote his Holberg Suite for the piano. In other words, he only later arranged it for strings. Further, Grieg composed by and large many songs with lyrics by famous writers such as Heine, Goethe, Ibsen, Hans Christian Andersen, Rudyard Kipling, and others. On balance, Norwegian pianist Eva Knardahl recorded altogether Grieg’s whole piano catalog on LP in 1980. These recordings were released again on CD in 2006. In any event, Grieg himself performed and recorded the bulk of these pieces toward the end of his life.

 

Grieg: Hall of the Mountain King from Peer Gynt Suite for Clarinet & Piano
Clarinette et Piano

$24.95 23.16 € Clarinette et Piano PDF SheetMusicPlus

B-Flat Trumpet,Piano - Level 3 - Digital Download

SKU: A0.549586

Composed by Edvard Grieg. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Standards,World. Score and part. 18 pages. Jmsgu3 #3511285. Published by jmsgu3 (A0.549586).

Duration: ca. 2:17 Score: 10 pages, solo part: 2 pages, piano part: 5 pages. A proven audience pleaser - perfect for a recital encore!

Grieg Background

In the first place, Edvard Grieg (1843 –1907) was a Norwegian composer as well as a concert pianist. As a matter of fact, most music historians consider him one of the foremost Romantic era composers. Consequently, his music is part of the international standard classical repertoire. Grieg moreover used Norwegian folk music in his own compositions.  Consequently, he ushered Norwegian music to transnational consciousness. Furthermore, he forged a national musical identity for Norway. It is important to realize that he did this in a manner similar to Jean Sibelius in Finland, and BedÅ™ich Smetana in Bohemia.

Legacy

Grieg is especially celebrated in the city of Bergen. For example, the city has erected numerous statues depicting Grieg. Specifically, the city has named a concert hall (Grieg Hall), a music school (Grieg Academy) and a professional choir (Edvard Grieg Kor) after him. As a matter of fact, there is also a museum located at his former home in Troldhaugen.

Peer Gynt Suite No. 1 (Op. 46)

Grieg wrote incidental music for the purpose of illustrating a play by Ibsen known as Peer Gynt. The play includes, in particular, the famous selection entitled, In the Hall of the Mountain King. In this composition, Grieg indeed depicts the exploits of the scoundrel, Peer Gynt. In one famous episode, for example, Peer steals a bride at her wedding. For this reason, the people chase him, but soon Peer falls, thereupon striking his skull on a boulder. He wakens forthwith in a highland bounded by angry gnomes. Consequently, the music of In the Hall of the Mountain King represents the mad gnomes taunting Peer. Therefore, each time the theme repeats it gets louder and faster. In the end, Peer surprisingly escapes from the mountain.

Holberg Suite and Misc. Summary

It must be remembered that Grieg originally wrote his Holberg Suite for the piano. In other words, he only later arranged it for strings. Further, Grieg composed by and large many songs with lyrics by famous writers such as Heine, Goethe, Ibsen, Hans Christian Andersen, Rudyard Kipling, and others. On balance, Norwegian pianist Eva Knardahl recorded altogether Grieg’s whole piano catalog on LP in 1980. These recordings were released again on CD in 2006. In any event, Grieg himself performed and recorded the bulk of these pieces toward the end of his life.


Grieg: Hall of the Mountain King from Peer Gynt Suite for Trumpet & Piano
Trompette

$24.95 23.16 € Trompette PDF SheetMusicPlus

B-Flat Clarinet,Piano,Violin - Level 5 - Digital Download

SKU: A0.1208741

Composed by Adam Lenhart. Chamber,Classical,Contemporary,Contest,Festival. 33 pages. Adam Lenhart #806841. Published by Adam Lenhart (A0.1208741).

Introduction to The Rubáiyát of Omar Khayyám
The Rubaiyat of Omar Khayyam is a Persian poetry collection first put together in 1460 in Shiraz.  It consists of quatrains, four-line poems, with a set of unconventional themes.  The poetry is irreligious and questions the afterlife and God's providence.  It shows keen awareness of the shortness of life and the finality of death. It advises therefore that every fleeting moment of every day should be savored, with wine, lovers and song. The combination of a serious philosophy of life and a carefree attitude has made the poetry popular for centuries.  In 1859, Edward FitzGerald brought out a loose English translation that took the world by storm.  It became the most beloved and widely known poem in the English language for decades until its popularity finally faded in the late twentieth century. Although they were attributed to the great mathematician and astronomer, Omar Khayyam (d. 1131), the poems were by many anonymous hands, and he was just a frame author, akin to Scheherezade in the Arabian Nights.

- Dr. Juan Cole, Richard P. Mitchell Collegiate Professor of History at the University of Michigan

About the Composition
Two Scenes from The Rubáiyát of Omar Khayyám explores and embodies two of the main themes that carry throughout the quatrains of the poem collection. In FitzGerald's translation, the quatrains follow a day to night cycle. The two movements reflect this by starting off with an abrupt wake up section and ending the piece with a nocturne.  The first movement, Wine, celebrates the camaraderie, joy and chaos that comes through the physical joy of being with friends. The clarinet, violin and piano interact in a conversational way, talking, laughing, and insulting one another in their own independent lines.

The second movement is entitled Intimacy and explores the emotional joy of connecting with one another. The movement is set in a waltz style dance and draws influence from Chopin, Liszt and other romantic era composers. This is juxtaposed by youthful and energetic phrases so that the piece embodies all forms of love: young love, years of marriage and even friendship. Each movement has a sense of urgency and density which is present in the rubá'iyát as well, expressing to the reader that our time on Earth is so short and to make the most of each day.
---------------------------
Adam Lenhart (b. 2002) is a University of Michigan student of music theory, composition, voice and organ from Ottawa Lake, Michigan. As a theorist, his areas of study vary widely, including 18th century counterpoint, the early American Sacred Harp tradition, and impressionism. As a composer, his music draws inspiration from nature, mathematics and poetry. In 2020 he was awarded the Michigan Music Education Association’s Young Composers of Michigan award, as well as first prize in the University of Toledo Young Composers competition. Lenhart has also participated in numerous ensembles across Michigan, including the MYAF All-State Choir, Tecumseh Pops Orchestra, University of Michigan Men’s Glee Club and the SMTD University Choir. He thoroughly enjoys collaboration with other composers, performers, poets and visual artists. Some of his recent projects include collaborations with individuals from the University of Michigan Chamber Music, History, and Poetry departments.

Two Scenes from The Rubáiyát of Omar Khayyám (Trio for Bb Clarinet, Violin and Piano)
Violon, Clarinette, Piano (trio)

$14.99 13.92 € Violon, Clarinette, Piano (trio) PDF SheetMusicPlus

Jazz Ensemble - Digital Download

SKU: AX.00-PC-0017136_BTC3

3rd Baritone T.C.. Composed by Kris Berg. Funk; Jazz. Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0017136_BTC3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017136_BTC3).

UPC: 038081320793.

With the distinct flavor of the group Weather Report, writer Kris Berg continues his successful string of chicken-related jazz ensemble titles with Feather Report. A superb chart with a hip-hop/shuffle-swing kind of groove and a written-out tenor solo, although other players can handle the simple two-chord solo section. Some meter changes from 4 to 3 and back, but nothing dangerous. Lead trumpet range is to written A above the staff (optional C). Brass players have a tough blow in this one, but it's worth it. Very hip chart and another winner from Kris Berg. (6:17) This title is available in SmartMusic.

Feather Report: 3rd Baritone T.C.
Saxhorn / bariton b.c. (partie séparée)

$3.00 2.78 € Saxhorn / bariton b.c. (partie séparée) PDF SheetMusicPlus

Jazz Ensemble - Digital Download

SKU: AX.00-PC-0017136_BTC1

Baritone T.C.. Composed by Kris Berg. Funk; Jazz. Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0017136_BTC1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017136_BTC1).

UPC: 038081320793.

With the distinct flavor of the group Weather Report, writer Kris Berg continues his successful string of chicken-related jazz ensemble titles with Feather Report. A superb chart with a hip-hop/shuffle-swing kind of groove and a written-out tenor solo, although other players can handle the simple two-chord solo section. Some meter changes from 4 to 3 and back, but nothing dangerous. Lead trumpet range is to written A above the staff (optional C). Brass players have a tough blow in this one, but it's worth it. Very hip chart and another winner from Kris Berg. (6:17) This title is available in SmartMusic.

Feather Report: Baritone T.C.
Saxhorn / bariton b.c. (partie séparée)

$3.00 2.78 € Saxhorn / bariton b.c. (partie séparée) PDF SheetMusicPlus

Woodwind Ensemble,Woodwind Quintet Bass Clarinet,Bassoon,Flute,Oboe - Level 5 - Digital Download

SKU: A0.1169176

By Franklyn Grace. By Franklyn Grace. Chamber,Contemporary. 39 pages. Franklyn Grace Creative Arts #769302. Published by Franklyn Grace Creative Arts (A0.1169176).

The Girl In the Green Bandanna is a contemporary woodwind quintet for flute, oboe, clarinet, bass clarinet, and bassoon. It is based upon the classical Rondo Form, with this particular pattern of the form being ABACBA. These six sections that comprise the piece all focus in some capacity on two individual themes: the first, slower theme of the A Section and the contrastingly more lively theme that follows immediately afterward in the B Section.

Below is a theoretical analysis of the parts and how they each have their own unique nod, whether big or small, to these two main themes.

A1 (mm. 1-9): The opening section of the piece, which introduces Theme 1.

B1 (mm. 10-22): Directly following the opening, this section introduces Theme 2.

A2 (mm. 23-58): After a brief interlude from the bassoon part, the main motif from Theme 1 returns, presented as motivic manipulation in the clarinet part of this section, underneath the flute melody.

C (mm. 59-123): A new, more jaunty section not yet heard in the piece, though which still contains occasional traces of the main motif from Theme 2.

B2 (mm. 124-144): Theme 2 in a modulated key and with a more majestic energy. Here, the two themes merge together momentarily, as Theme 1 can be heard briefly in the Clarinet part during the first eight measures of this section, much akin to A2.

A3 (mm. 145-149): The outro of the piece, which is a polytonal rendering of the modulated key from B2 and the original opening key.

The Girl In The Green Bandanna
Franklyn Grace
$9.99 9.27 € PDF SheetMusicPlus

B-Flat Clarinet,Piano - Level 1 - Digital Download

SKU: A0.548715

Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and part. 4 pages. Jmsgu3 #3411741. Published by jmsgu3 (A0.548715).

Out of the Depths I Cry to You by Martin Luther arranged for clarinet & piano.  The first verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Features the entire range of the instrument. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms. Score: 3 pg. Solo part: 1 pg. The piano reads from the score.


Out of the Depths

Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics, essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to the contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed pieces, such as Felix Mendelssohn and Max Reger.


Luther Background

Martin Luther, (1483 –1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music.


Influence

It is important to realize that other musicians, and their descendants, were encouraged by Luther’s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works.


Legacy

The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich Schütz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in Lübeck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.

Luther: Out of the Depths for Clarinet & Piano
Clarinette et Piano

$24.95 23.16 € Clarinette et Piano PDF SheetMusicPlus

B-Flat Trumpet,Piano - Level 1 - Digital Download

SKU: A0.548721

Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and part. 4 pages. Jmsgu3 #3411757. Published by jmsgu3 (A0.548721).

Out of the Depths I Cry to You by Martin Luther. The first verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Features the entire range of the instrument. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms. Score: 3 pg. Solo part: 1 pg. The piano reads from the score.


Out of the Depths

Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics, essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to the contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed pieces, such as Felix Mendelssohn and Max Reger.


Luther Background

Martin Luther, (1483 –1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music.


Influence

It is important to realize that other musicians, and their descendants, were encouraged by Luther’s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works.


Legacy

The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich Schütz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in Lübeck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.

Luther: Out of the Depths for Trumpet & Piano
Trompette

$24.95 23.16 € Trompette PDF SheetMusicPlus

Jazz Ensemble - Digital Download

SKU: AX.00-PC-0015233_BTC1

Baritone T.C.. Arranged by Michael Story. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0015233_BTC1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015233_BTC1).

ISBN 9780757934193. UPC: 029156934441.

James Bond was back in the theaters this year and once again captivated audiences around the world. This swingin' theme, in the very capable hands of Mike Story, works really very well for younger groups. Use this to teach the swing style, and keep your players interested with a song they know. Mike Story strikes again with another great arrangement! (1:48).

James Bond Theme: Baritone T.C.
Saxhorn / bariton b.c. (partie séparée)

$3.00 2.78 € Saxhorn / bariton b.c. (partie séparée) PDF SheetMusicPlus

Jazz Ensemble - Digital Download

SKU: AX.00-PC-0017269_BTC3

3rd Baritone T.C.. Composed by Alfred James Ellis. Arranged by Kris Berg. Jazz. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017269_BTC3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017269_BTC3).

ISBN 9780757934124. UPC: 654979997412.

Whoa, hold on to your feathers! If you want energy and excitement and a funky groove, then check out Kris Berg's chart, The Chicken. The legendary electric bassist Jaco Pastorius recorded this powerhouse tune and arranger Kris Berg has adapted it for the Jazz Band Series. If you have a strong electric bass player, then you have found yourself a showstopper with this arrangement. The tenor sax solo (written solo provided), the optional guitar solo, and the solo bass line will showcase your soloists. Your ensemble will totally devour The Chicken. Guaranteed to pluck the audience right out of their seats!

The Chicken: 3rd Baritone T.C.
Saxhorn / bariton b.c. (partie séparée)

$3.00 2.78 € Saxhorn / bariton b.c. (partie séparée) PDF SheetMusicPlus

Jazz Ensemble - Digital Download

SKU: AX.00-PC-0017269_BTC1

Baritone T.C.. Composed by Alfred James Ellis. Arranged by Kris Berg. Jazz. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017269_BTC1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017269_BTC1).

ISBN 9780757934124. UPC: 654979997412.

Whoa, hold on to your feathers! If you want energy and excitement and a funky groove, then check out Kris Berg's chart, The Chicken. The legendary electric bassist Jaco Pastorius recorded this powerhouse tune and arranger Kris Berg has adapted it for the Jazz Band Series. If you have a strong electric bass player, then you have found yourself a showstopper with this arrangement. The tenor sax solo (written solo provided), the optional guitar solo, and the solo bass line will showcase your soloists. Your ensemble will totally devour The Chicken. Guaranteed to pluck the audience right out of their seats!

The Chicken: Baritone T.C.
Saxhorn / bariton b.c. (partie séparée)

$3.00 2.78 € Saxhorn / bariton b.c. (partie séparée) PDF SheetMusicPlus

Choral Choir (SATB) - Level 3 - Digital Download

SKU: A0.930752

Composed by Andrew Schneider. Baroque,Christian,Classical,Contemporary,Sacred. Octavo. 18 pages. Andrew Schneider #3584607. Published by Andrew Schneider (A0.930752).

This is a choral anthem setting of Psalm 117 designed for either church or concert use. In its effortless use of various elements of Baroque practice, I have written a piece which will hopefully be useful for high schools and community colleges with smaller choirs to get students to sing works which can prep them for repertoire. Churches will also find this a work appropriate for any festive occasion and also useful in telling people that composers actually exist today who like the bygone way of doing things. And also with a rather exciting piano part! I certainly enjoy raising the bar.

To that end, the A section can be sung on its own as a separate piece, as it is deliberately easier than the B section, which has more chromatic and polyphonic passages. This is the perfect piece to convey to high school students the impression that Baroque music can be exciting, spontaneous, and not old-fashioned, and in a matter which will be immediately perceived to be authentic.

The ad libitum trumpet parts are available directly from the composer. Though they are not strictly necessary for a successful performance, they do give a special spice and festive aura that can only be beneficial.

O Praise the Lord
Chorale SATB

$2.99 2.78 € Chorale SATB PDF SheetMusicPlus

Piano Solo - Level 4 - Digital Download

SKU: A0.1292494

By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden #883011. Published by Brian Golden (A0.1292494).

Prelude 22 in B Minor Phrygian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden

   The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.
    While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.
    In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.

Prelude 22 in B Minor Phrygian
Piano seul
Brian Golden
$5.99 5.56 € Piano seul PDF SheetMusicPlus

Piano Solo - Level 4 - Digital Download

SKU: A0.1248572

By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #843064. Published by Brian Golden (A0.1248572).

Prelude 15 in B Major Mixolydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden

   The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.
    While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.
    In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.

Prelude 15 in B Major Mixolydian
Piano seul
Brian Golden
$5.99 5.56 € Piano seul PDF SheetMusicPlus






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