SKU: A0.1511019

An arrangement for String Orchestra of the national anthem of Finland. There are also versions for Brass Quintet & Symphony Orchestra in my two stores.

Maamme (Finnish: [?m??m?e]) or Vårt land (Finland Swedish: [?vo?rt ?l?n?d]; both meaning Our Land) is Finland's national anthem. The music was composed by the German immigrant Fredrik Pacius, with (original Swedish) words by Johan Ludvig Runeberg, and with this music it was performed for the first time on 13 May 1848. Originally it was written for the 500th anniversary of Porvoo and for that occasion it was Runeberg himself who wrote the music.The poem has been influenced by the Szózat (Appeal) of Mihály Vörösmarty, both in style and content.[

The melody of Maamme is also used for the national anthem of Estonia with a similarly themed text, Mu isamaa, mu õnn ja rõõm (My Fatherland, My Happiness and Joy, 1869).It is also considered to be the ethnic anthem for the Livonians as Min iz?m? (My Fatherland).

The original poem, written in 1846 but not printed until 1848, had 11 stanzas and formed the prologue to the verse cycle The Tales of Ensign Stål (Fänrik Ståhls Sägner), a classic example of Romantic nationalism. The current Finnish language text is usually attributed to the 1889 translation of Ensign Stål by Paavo Cajander, but in fact originates from the 1867 translation by Julius Krohn.

The Tales of Ensign Stål were much appreciated throughout all of Scandinavia. Up until the time of Finland's independence in 1917 and 1918, when the song began to be recognized as specifically applying to Finland, Pacius's tune and Runeberg's text were often also sung in Denmark, Norway, and Sweden. Note that in the original Swedish text there is no reference to Finland (except for in verses 4 and 10, which are rarely sung), only to a country in the north, but the Finnish text explicitly refers to Finland. The poem's theme is, furthermore, remarkably similar to that of the national anthems of Sweden (Du gamla, Du fria) and Norway (Ja, vi elsker dette landet).[citation needed]

There is no law regarding an official national anthem in Finland, in the way the coat of arms and flag of Finland are legally defined. Instead its position has been established gradually by convention over the years.

Today, Maamme is firmly established by convention. Children learn it in school; in formal occasions it is sung both in Finnish and in Swedish. It is played at sporting events, such as the Olympics. In the 1880s and in the 1920s there were more attempts to replace it with a Finnish language version but these ceased by the 1930s. Some Finns have proposed that the Finnish national anthem be changed to Finlandia by Jean Sibelius, with lyrics by V.A. Koskenniemi (Finnish) and Joel Rundt (Swedish). There are also those who simply prefer Finlandia as a musical piece, although critics claim that it is difficult to sing.[citation needed]

It is said that Pacius composed the tune in four days. It was popular throughout the 19th century, but established as national anthem only after Pacius' death.

The melody of Maamme has similarities with the German drinking song Papst und Sultan. Many believe that Fredrik Pacius intentionally or unintentionally copied parts of the tune. Another Finnish patriotic song, Sotilaspoika, composed by Pacius, also includes similarities with Papst und Sultan.[citation needed]

During 1993, an instrumental version of Maamme was used as Finnish professional wrestler Tony Halme's (under the ring name Ludvig Borga) entrance theme 

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SKU: M0.WBM77MEB

ISBN 9781513477916. 8.75X11.75 inches.

A comprehensive collection of 146 guitar solos in notation and tablature. The solos include beautiful airs and ballads from America and the British Isles, Celtic favorites, and early music pieces. Also included are many original guitar solos written by the author. Each solo is recorded, and the book includes access to online recordings.

SKU: A0.949381

The Message is written to evoke a feeling of love and happiness in everything one does. The speaker uses nocturnal events to represent life: although the rain (mournful times) is not here, the stars cannot be seen if one is not opening themselves to love and the beauty life offers. The speaker believes the message should be heard by all, so everyone can witness the stars and encourages others to become messengers themselves.

Duration: approx. 5:02

The Message was selected as a winner in the 2020 MMEA Honors Composition Contest.

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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.

SKU: A0.972635

These seven short pieces were composed in the early months of 1976 as imitations of some of the composers and musical styles of the early twentieth century. They were never performed or published at the time. They are useful as didactic studies for student pianists. The seven pieces are
I. Intonatione In the Whole-Tone Scale
II. Prélude and Nocturne in Modes
III. An Impression of Impressionism
IV. An Imitation of Roy Harris
V. Adding Chord-Tones While Shifting Meters
VI. Ragtime Bitonality
VII. Diatonic Waltz

Program Notes:

The Intonatione In the Whole-Tone Scale recalls the Renaissance Italian musical form that evolved into the prèlude in later organ music, as well as the use of Italian forms in the atonal music of Arnold Schoenberg, and some neo-Baroque composers of the twentieth century. In contrast, the whole-tone scale is reminiscent of generally tonal composers, including Debussy.

The Martial Prèlude and Nocturne in Modes recalls the many pre-twentieth century pairings of preludes with fugues and other forms. The pairing with a nocturne evokes an air of Romanticism. The Martial Prèlude is a march-like fanfare, in Lydian mode on C. The Chopinesque Nocturne is in Phrygian mode, on E flat.

An Impression of Impressionism evokes some of Debussy’s Preludes pour Piano, including a suggestive title at the bottom of the page, as Debussy himself did. For the young pianist aiming to master the works of Debussy, the arpeggio patterns, block chords, and sequential motives will prove helpful as introductory exercises.

An Imitation of Roy Harris was inspired by the occasion in 1976 when James Siddons heard Roy Harris speaking in person about his compositions. Siddons was impressed by Harris’ youth in Oklahoma, and how the solidity of American rural life shaped Harris’ symphonic music. When taking questions at the end of the lecture, a young composer asked Harris about his creative methods when composing music. Well, Harris responded, You don’t pull up a potato just to see if its growing.

Adding Chord-Tones While Shifting Meters is a technical exercise that is nonetheless fun to listen to, and fun to play. A student pianist should be asked to analyze the harmony in this piece, and to describe what shifts are taking place when the musical meter (as well as phrasing and rhythm patterns) change. The echoes of Stravinsky and Bartók should be apparent to the listener and pianist.

Ragtime was not regarded as art music of the same caliber as Stravinsky and Schoenberg, or even Copland and Gershwin, until the 1970s. The inclusion of ragtime in these seven pieces would not have been accepted by composers of the early twentieth century, Stravinsky excepted. Ragtime Bitonality explores how such piano music might have sounded had major composers of the 1900-1920 era taken an interest in its march-like vitality. There is even a touch of atonality!

In contrast to the powerful rhythms and juxtaposed tonal relations in much early twentieth-century music, there were works by many composers that continued familiar melodic patterns and balanced forms, offering musical relief in a turbulent era in music history. The Diatonic Waltz is offered here as a quiet, peaceful conclusion to our tour of musical styles in classical music of a century ago.

About the Composer: James Siddons is a composer and pianist as well as musicologist. His research guide to the music of Japanese composer Toru Takemitsu was published in 2001. For more information, see www.JamesSiddons.com

SKU: A0.746511

A slow march I entitled The Royal Hussar, is an original ceremonial slow march of mine, suitable for indoor or outdoor performance. Slow March: This is a ceremonial pace, used for funeral marches and when a unit’s colours are marched out in front of the troops. The feet are kept parallel to the ground and the arms are never used. In the United States Marine Corps, arms swing as the distance they normally would in quicktime, but at the same pace as marching. U.S. Marine Color Guards do not swing their arms. Slow March is typically used in the Marine Corps for funeral details and ceremonies such as the Marine Corps Ball (when the cake is escorted out). In Spain, Latin America, and the Philippines this is done during religious processions whenever a military band joins it. This march style is the official parade march in the armed forces of Bolivia and Ecuador and the military academies and schools of Venezuela, done with the goose step during parades and ceremonies. The standard pace is 60 paces per minute. Famous slow marches include:Preobrajensky Regimental Slow March Presented to the Royal Marines by Admiral of the Fleet The Earl Mountbatten of Burma on 10th June 1964 and first performed as the Regimental Slow March of the Royal Marines on Horse Guards Parade that night. The march was composed by the Russian composer Donajowsky for the Russian Tzar’s Preobrajensky Guard. The Royal Hussars Slow March ’Coburg’, a tune composed by Haydn and arranged by Grant-James in the late 19th Century, is without doubt one of the most well-known and famous Slow Marches to be written. ’The Eagle’, which itself is a combination of the 14th and 20th Hussars slow marches is also a very strong march, but not widely known outside 14th/20th King’s Hussars’ circles. The Garb of Old Gaul (sometimes given as Auld Gaul) is an 18th-century patriotic Scottish march and song about Highland soldiers during the Seven Years War. The music was written by General John Reid, who was a senior officer of the 42nd Regiment of Foot (The Black Watch) during the Seven Years War. The words have traditionally been attributed to Sir Harry Erskine (1710 -1765). Robert Burns described it as This excellent loyal Scottish song and states that it first appeared in print in Herd’s Collection of 1769. Alternative titles include The Highland Character and The Highland or 42nd Regiment’s March. The tune was originally a quick march but was later rearranged as a slow march. Other famous slow marches of the British Army include Golden Spurs & Scipio. Put away Scipio, Coburg & Garb of Old gaul, time for a newcomer on the block! For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores: http://www.scoreexchange.com/profiles/keith_terret http://musicforalloccasions.org.uk http://www.sheetmusicplus.com/search?Ntt=keith+terrett Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com.

SKU: M0.93370EB

ISBN 9781513455235. 8.75 x 11.75 inches.

Moods of the Dulcimer touches on history of the Dulcimer as well as Tuning and Theory. Also essentials of the Dulcimer such as Double Thumbing, Three-Finger Picking, Dulcimer Chord Diagrams, as well as much more. Tunes included are Greensleeves, Wearing of the Green, Rosin the Bow, Wayfarin' Stranger, Mountain Wedding, In the Pines, and many more.

SKU: A0.1177383

Key: Changed from B minor to A minor
Capo: 2 (If you want original key, but I wasn't a fan of capo 2; it felt like there was no bass notes.)

1. Arranged for guitar.
2. Piano pedal markings removed
3. Phrase markings removed and opted for commas.
4. Re-harmonized
5. Key changed from B minor to A minor.
6. Slurs
7. Left hand fingers
8. Tablature
9. Harmonics added when advantageous, but playing the regular note would work as well.
10. Piano pedal markings removed and replaced with commas. It's a flaw of sheet music that slurs, ties, and phrase markings are all the same symbol, and having all three happening can clutter a score.

Compromises

1. This may sound obvious, but of course I had to make some alterations to make this flow properly on guitar. Many of the original chord inversions on the piano were not kept. However, many harmonies were kept intact as far as following the chord nomenclature name.
2. Measure 50 was originally an A minor chord, the irony is that the F major suprise is an homage to Chopin anyways, suprised he didn't opt for it. To be honest, I don't like how there is a perfect authentic cadence in measure 50. I think modern audiences would want to clap too badly, so I believe that ending needs to be slightly messed up to propel the music forward, and give a sense that there is still a problem.
3. The other chord that was changed was an E7b9 to a Ddim7 in measure 78. If you know your theory well, you'll realize these chords have the same exact function and nearly the same notes, it's just that Ddim7 flowed a bit better on guitar. I'd rather have guitarists play the rhythms correctly and with musicality, than have guitarist clunkily go though overly large chords in order to mantain historical accuracy. 
4. Measure 15 was hard to keep the original chord intact. A Bb/D with a G in the melody as a suspension sounds more like a g minor chord. That is cliche Chopinesque neopolitan moment so the Bb is crucial to mantain. Having some rough sort of Bbmaj7 or G minor chord while mantaining the melody seemed to sound the best even though the name of the chord might have gotten a little off.

SKU: A0.1455761

Three Coins In The Fountain as performed by piano artist, Liberace.
From the romantic film of the same name.  A timeless classic that received the Academy Award for Best Original Song in 1955.

Musical Test:  See if you can hear where in the song; coins are being musically tossed into the fountain to make a wish. 

The lyrics of “Three Coins In The Fountain” speak of three individuals throwing coins into the Trevi fountain in Rome, each seeking happiness. These hopeful lovers are left wondering which one of them will receive the fountain’s blessings. It also mentions three hearts longing for their home, lying in the fountain somewhere in the heart of Rome.

Three coins in the fountain
Each one seeking happiness
Thrown by three hopeful lovers
Which one will the fountain bless

Three hearts in the fountain
Each heart longing for its home
There they lie in the fountain
Somewhere in the heart of Rome

Which one will the fountain bless
Which one will the fountain bless

Three coins in the fountain
Through the ripples how they shine
Just one wish will be granted
One heart will wear a valentine

Make it mine
Make it mine
Make it mine.

SKU: IZ.OMW192-S

9 x 12 in inches.

Nineteenth-century philosophers coined the term hedgehog dilemma to describe the conundrum faced by hedgehogs huddling together for warmth during the winter. If they huddle too closely, they hurt each other with their spines. If they maintain greater distance, they become too cold. The challenge is to find an optimal distance, in which a few occasional pricks are endured in order to get some warmth. Philosophers viewed this situation as a metaphor for human relationships: close intimacy contains the risk of mutual harm.

Inspired by the humorous movements of a friend's pet hedgehog, I imagined a fanciful scenario: a disco-loving hedgehog in search of a partner for the 1970's couples dance known as the hustle. Unfortunately, he and his partner keep sticking each other with their spines (represented by the pizzicato in the strings), and his partner abandons him. Our hero sadly contemplates his future, destined to dance alone. However, the music gives him courage, and he concludes with an exuberant dance solo.

SKU: A0.572034

Written on September 18, 2016, this is an original piano composition in a relaxed and a romantic style. Perfect for weddings, receptions, background music, or any time romantic piano music is called for. James Michael Stevens is a prolific composer residing in Nashville, TN where he serves as the Music Department Chairman of Welch College. Alcala is a lovely city in the Philippines. Follow Dr. Stevens' music on streaming services such as Spotify, Pandora, Amazon, Apple, and others.

SKU: A0.551688

Mendelssohn's Op. 32, The Fair Melusina Overture is a concert overture inspired by the legend of Melusine, a water sprite who marries a mortal under certain conditions. The overture is not a literal retelling of the story but rather a reflection of its themes and moods. Mendelssohn held this work in high regard, characterized by its dreamy and fluid musical landscape, reflecting the happiness and unhappiness of the two main characters. The piece was initially received politely, but Mendelssohn subsequently revised it, and it remains the least familiar of his series of concert overtures. The overture is known for its harmonic power and is sometimes rendered in English as The Fair Melusine.

The legend of the fair Melusina is a tale of a water sprite who marries a mortal man under the condition that he must never see her on a Saturday. However, he eventually breaks his promise, leading to the tragic fate of Melusina. She is often depicted as a mermaid, a serpent from the waist down, or a dragon, and her story is associated with themes of love, trust, and the consequences of betrayal. The legend has inspired various literary and musical works, including Felix Mendelssohn's The Fair Melusina Overture, which reflects the themes and moods of the story. The tale has been revisited and revised over the centuries and continues to captivate audiences with its tragic and romantic elements.

SKU: A0.1021989

The original version of E Toro nga Hau: The Three Winds was written for oboe, clarinet and bassoon in 2001 and premiered by the Eastwind Trio d’Anches (the faculty reed trio from the University of North Carolina at Greensboro with the composer on bassoon) during a tour in New Zealand and Australia in May 2001. The premiere of the version for saxophone trio was performed by members of the Red Clay Saxophone Quartet on February 5, 2008.

E Toro nga Hau: The Three Winds was inspired by the Australasian tour and my return home to New Zealand as a performer. Another inspiration was that my dear Grandmother passed away at the age of 94 in February 2001. Due to this there are elements of sadness and happiness throughout the piece. The bittersweet first movement begins melancholy, with a melody that freely switches between minor and major modes, but ends up with a lively dancing section focusing on happy memories, where the chickens from my grandmother’s farm may even be heard. The second movement is lively throughout with extensive use of mixed meter and includes a jazz rock interlude.

While the work does not contain any actual New Zealand elements in the music, it was evocative of my time spent there growing up.  It is in a style typical of my writing, containing jazzy influences combined with the more traditional. The title is given in Maori (the language of the native Polynesian race in New Zealand) and English and merely relates to the fact that it is written for three woodwind instruments. This work has been performed throughout North America and the South Pacific.

This work also exists in two double reed versions: one for oboe, English horn, and bassoon, and another for oboe and two bassoons.

SKU: A0.1102146

A solo piano arrangement of a traditional American lullaby, done in a contemporary new age style, with original elements added. A haunting piece from the solo piano album, In the Pines, and available for your listening pleasure on all streaming services.

SKU: A0.1239681

This piece, The Palatka Port March, is intended to depict a little of the sense of life in the early years of Florida
on the St. John’s River. It was once a target for ships venturing out to find the New World. It has been used to ferry
barges and livestock. Some simply used it for sailing and transportation throughout the years, and some to catch fish
to provide for themselves. The life on this river has been diverse, yet fulfilling over the years and will continue to be
so in the future.
The melodies in this piece were taken from the shape of the St. Johns River from its upper point in Jacksonville, to where our part of the story ends in Palatka. Notice the falling and rising 8th note runs at the beginning, this
represents the rise and the fall of the river as it enters Jacksonville from the Atlantic Ocean. The first strain is a
linear, yet very regal melody where the heavy beats follow the contour of the river as it runs south. Here you can
picture the ships coming from Europe across the ocean and the excitement they felt when they reached it. The
second strain is more playful and represents the life that the river has provided for people for centuries. The Trio
represents the calmness and civility when Palatka was discovered, and the happiness the settlers must have felt
knowing they had found their perfect place to call home. The break strain represents the hard work and efforts that
were put forth to secure the land and build a community. There would have been many triumphs and many
successes, but the journey would have not been easy. The final strain is the culmination of the piece. This is the
celebration and the feeling of personal nobility that all of the settlers felt after taking a river and dirt and building a
city. I hope you enjoy, The Palatka Port March!