Tenor Saxophone Duet Tenor Saxophone - Level 3 - Digital Download SKU: A0.1450700 Composed by Johann Sebastian Bach. Arranged by Rodrigo Faleiros. Baroque,Chamber,Standards,Traditional. Score. 3 pages. Rodrigo Faleiros #1029948. Published by Rodrigo Faleiros (A0.1450700). Dive into the baroque elegance of Johann Sebastian Bach’s “Menuet” with this charming arrangement for two tenor saxophones. Drawn from the treasured notebooks of Anna Magdalena, this piece has been thoughtfully adapted for players with intermediate skills. The arrangement encourages a duet of tenor sax to gracefully navigate the beloved melodies, offering a new take on a historic composition. Key Features: Intermediate Level: Tailored for players with intermediate abilities, this arrangement respects Bach’s original work while presenting an enjoyable challenge. Duet Arrangement: Crafted for two tenor saxophones, this arrangement fosters a dynamic exchange between players, reflecting the sophistication of the baroque period. Chord Symbols: The inclusion of chord symbols provides a foundation for harmonic exploration and accompaniment, enriching the overall musical experience. Ideal for recitals, teaching moments, or the sheer pleasure of playing Bach’s music, this arrangement brings the finesse of the baroque era to the forefront with each note. Experience the collaborative joy of this tenor sax duet and let the legacy of Bach’s Menuet resonate through your performance. ???? Check out my other arrangements clicking here! ????

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.585687 Composed by Alex Lifeson, Geddy Lee, Geddy Lee Weinrib, and Neil Peart. Arranged by Jeff Tincher. Contemporary. Score. 40 pages. Jeff Tincher #6358207. Published by Jeff Tincher (A0.585687). This is the complete, full length version of the epic song that put Rush in the forefront of Prog Rock and began the Math Rock genre. In the original key from their 211 LP, this arrangement includes all the guitar solos, the lyrics, and the story of 2112. Duration = 21:03. Visit my websites: https://jefftincher.wixsite.com/sheetmusic, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing.

Choral Choir,Choral,SATB Chorus - Level 4 - Digital Download SKU: A0.1505764 Composed by Jacob Fontenot. 21st Century,Chamber,Classical,Contemporary. 14 pages. Jacob Fontenot #1081156. Published by Jacob Fontenot (A0.1505764). Dirge for Two Veterans is a piece for SATB choir and piano that is great for either advanced high school or collegiate choirs. The piece uses haunting melody and a sparse, march-like piano accompaniment underneath the text of the original Walt Whitman poem. Dirge for Two Veterans is a strikingly emotional piece that brings grief and loss to the forefront as it progresses through the aftermath of both literal and metaphorical war.

Guitar - Level 2 - Digital Download SKU: A0.1168489 Composed by Stephen Foster. Arranged by Brian Streckfus. Country,Folk,Instructional,Pop,Singer/Songwriter. Chords/Lyrics. 1 pages. Brian Streckfus #768792. Published by Brian Streckfus (A0.1168489). If you are looking for a historically accurate version, I would just get Hal Leonard's publications of it. This version really sprinkles some razzle dazzle on an otherwise straightforward public domain song in G major, though it does not use the exact  original melody.1. The original melody is NOT intact, this is ghostwritten. Notes were flatted to give a bluesier sound.  2. The chords are very modern, despite this song being written in the mid 1850s. 3. Grace notes added 4. Background harmonies now have more thought put into part writing, originality, being idiomatic on guitar, and making the melody the forefront. 5. Left hand fingerings added to aid in sight-reading.6. Letter names added to note heads to aid in sight-reading.7. I like versions like this because it could be used for a guitarist who doesn't sing, a guitarist who does sing, or a guitarist in a band. In otherwords, the more band members, the more you are just focusing on background chords, the more you are a one-person band, the more you have to take everything in. Tips:1. I arranged this so that students could see how blues scales work as I drenched this song in more blues than it originally had (Bb - B...F - F#...E minor blues and G major blues respectively.) You'll notice I don't stay on these dissonant blues notes for very long, that's why there's so many grace notes in this song.2. The D9 in measure 6 was originally a D7. Some extensions like this don't really change the scale in use.3. The Ab7 in measure 7 was originally a D7, making the Ab7 a tritone substitution. If you know the key of G major well, that chord should stick out like a sore thumb. 4. The Bb7 in measure 14 was originally a G7. I call these kind of substituitions mediant substitutions as they are similiar to jazz tritone substitions, but at a 3rd instead of a tritone.5. The Cm(maj7) was originally a C major chord. This is a modal borrowing composition technique of borrowing from the parrallel minor, in this case, G minor.

Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861901 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 21 pages. Mark O'Connor Musik International #6206161. Published by Mark O'Connor Musik International (A0.861901). Piano Trio No. 1 Poets and Prophets (cello part – piano, vln, cel) MO160CCello Part (score and parts available)Music by Mark O’Connor18 pages - 29:00 minutes in lengthI. Man In BlackII. The Tennessee TwoIII. My JuneIV. Hello, I’m Johnny CashPiano Trio No. 1 (Poets and Prophets) was composed by Mark O’Connor during the Fall of 2003. The piece was commissioned for the Eroica Trio by a noted patron for music, Kathryn Gould of Palo Alto, California. The world premiere took place at the Montalvo Chamber Music Series in California, March 5th, 2004. In a letter to the members of the trio dated 9/20/03, Mr. O’Connor lays out his plan for the new music.My initial ideas have sort of exploded in to the entire concept of the music with a real impact actually. Now I am piecing together the parts of it and then will eventually work on detail as I get the overall form under wrap. Here is what my inspiration for the music is; Johnny Cash.Johnny was a boyhood hero of mine, I used to sing his songs when I was 8, 9 and 10 years old, and played the guitar like him (sometimes up the fretboard strumming away). My mom used to help me transcribe all the lyrics off the albums, she also thought he hung the moon.                                                                                         As you can imagine, the passing of Cash for me this last week has been emotional. I am at my very best when I compose with my emotions at my sleeve, and guess what, it is time to do the Eroica piece. And I believe I will be able to craft a very unique tribute in to the form of a Piano Trio. There is something that is very fitting in all of this though. Cash was one of the few country music and rockabilly musicians to appeal to all ages, all types of people all the way into the MTV generation which is something that is hard to fathom. That one person can move musical mountains with his charisma and his voice. He sung about the prisons, riding the trains, about killing, and living, about lost love, about the gospel, about the downtrodden and the Native American, and about being stoned. His musical sound was the thing that got everybody though. He developed along with his guitar player Luther Perkins, a new and vibrant way to bring the music out.I also knew Johnny and worked with him, visited him privately at his home. Johnny also appeared on my album called Heroes, where he brought back the great story of the Devil coming down to Georgia to challenge young Johnny for the golden fiddle. My job now is to bridge what I am feeling about my inspiration for Cash, and bring it in to the instruments that I love writing for.I might not have imagined that this Johnny Cash concept would have worked out of hand, if it hadn’t been for your musicianship, insight fullness and graceful approaches in to the details of musical concepts and style. If the piece is good, then I will have no doubt that you will bring it to the forefront so others can grasp the intentions of the work, and in addition for others to enjoy playing it after you have brought it all out in to the open, and gave it a life. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2003 Composed by Mark O’ConnorCan be heard on An American Journey by the Eroica Trio, Angel RecordsMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number.

String Quartet Cello,Double Bass,Piano,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1376321 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Jazz,Pop,Singer/Songwriter. 15 pages. Heidi Savoie #960865. Published by Heidi Savoie (A0.1376321). This score is an arrangement for piano, violin I and II, viola, cello, bass with optional drums.Backstory: Years ago I wrote a simple piano piece for my students. As instrumental music can fully exist outside the confines of words, it can be difficult to find the right title for something that is pure sound and possibility. I took inspiration from the time of year in which I had composed it and stamped it, “Almost May�. Like springtime in the Northern Hemisphere, “Almost May� unfolds slowly and majestically, with ever-evolving layers for the senses to discover. What to listen for: ThemeThe main theme is first presented by the piano with minimal fanfare. This part was written to be easy enough for a child, which despite being sparing of notes, delivers rich harmonic content. Every note has been carefully curated for the optimal combination of accessibility and depth. Weaving chromatically into distantly-related keys, the melody takes small steps into contrasting musical spaces. In a wordless procession, the storyline plays out, as if the theme discovers that someone very different lives next door, and they slowly become inseparable. The piano is accompanied by an airy touch of brushes against a snare drum, like the pitter patter of soft feline steps. In the low frequency range, the upright bass supports and deepens the tonal palette with its earthy underpinnings. What to listen for: Variation I The unmistakable string section arrives like a breath of warm air. Lush, warm and reassuring like sunshine on your cheeks, the string parts begin with long tones. This broadness and stability will evolve into more layers of complexity throughout the section. While the role of the string section is background accompaniment, it undergoes textural changes which allow for some layers to briefly rise to the forefront as melody. Careful listening to the string parts will reveal an oceanic churning, a motion from background to foreground with expansions and contractions along the way. Floating overtop this density is the improvised piano solo, with ascending gestures that progress in detail and density. Each instrument enters a general unfolding and growth period in the first variation. The bass and drums include more fills than before, as the ensemble tends gradually toward more grandeur. What to listen for: Variation II The final variation opens with a decadent treatment of the melody. What was initially expressed by a soloist as a childlike plea is reimagined as a two-part conversation between the piano and lead viola. The obbligato voiced in the viola is a derivation of the melody that holds the space between phrases so the listener's attention is passed seamlessly between the piano and viola part. This dialogue features commentary on the original melody in the form of ornamentation and taking surprising pathways to expected destinations. The rhythm section (bass and drums) takes more liberties in creating a verdant soundscape as the ensemble rises to a final climax. Credits: I would like to thank Cole Canaday for the nuance, imagination and depth of understanding with which he brought this piece to life. I would also like to thank Blake Hamilton and Anastace for providing invaluable audio engineering feedback.

Brass Ensemble - Level 4 - Digital Download SKU: A0.870396 Composed by Giovanni Gabrieli. Arranged by Randy A. Steinberg. Baroque. Score and parts. 35 pages. Randy A. Steinberg #1985915. Published by Randy A. Steinberg (A0.870396). Giovanni Gabrieli was no mere composer. He was an event. The figure at the nexus of many things all coming together in one grand tide. The greatest church in the greatest city of Europe. Freedom of intellectual thought. A Venetian School of composers at the forefront of musical innovation. The printing press and musical publishing. A Doge (Chief Magistrate or Duke) willing to spend, and spend big, on musical pomp and ceremony. A dearth of wealth and money to fund the grandest celebrations. He was the leading Italian composer and organist in Venice at its greatest heights at the chasm between the end of the Renaissance and the beginning of the Baroque period in music. Presented here is an early Canzona published around 1615 for 6 brass. A variety of substitute parts are also included to handle the trumpet and trombone parts with French horns and tubas. The piece starts with a short song-like melody and rhythm that is then repeated with many variations throughout. A nice early introduction to the Gabrieli instrumental ensemble works, published shortly after his death, for a smaller single ensemble.

Violin Duet Violin - Level 3 - Digital Download SKU: A0.1450710 Composed by Johann Sebastian Bach. Arranged by Rodrigo Faleiros. Baroque,Chamber,Standards,Traditional. 3 pages. Rodrigo Faleiros #1029962. Published by Rodrigo Faleiros (A0.1450710). Dive into the baroque elegance of Johann Sebastian Bach’s “Menuet” with this charming arrangement for two violins. Drawn from the treasured notebooks of Anna Magdalena, this piece has been thoughtfully adapted for players with intermediate skills. The arrangement encourages a duet of violins to gracefully navigate the beloved melodies, offering a new take on a historic composition. Key Features: Intermediate Level: Tailored for players with intermediate abilities, this arrangement respects Bach’s original work while presenting an enjoyable challenge. Duet Arrangement: Crafted for two violins, this arrangement fosters a dynamic exchange between players, reflecting the sophistication of the baroque period. Chord Symbols: The inclusion of chord symbols provides a foundation for harmonic exploration and accompaniment, enriching the overall musical experience. Ideal for recitals, teaching moments, or the sheer pleasure of playing Bach’s music, this arrangement brings the finesse of the baroque era to the forefront with each note. Experience the collaborative joy of this violin duet and let the legacy of Bach’s Menuet resonate through your performance. ???? Check out my other arrangements clicking here! ????

Piano Solo - Level 2 - Digital Download SKU: A0.1376326 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Instructional,Jazz,Singer/Songwriter. Score. 1 pages. Heidi Savoie #960870. Published by Heidi Savoie (A0.1376326). This is a solo piano arrangement of Almost May, best suited for an early intermediate player. Almost May - Theme and VariationsBackstory: Years ago I wrote a simple piano piece for my students. As instrumental music can fully exist outside the confines of words, it can be difficult to find the right title for something that is pure sound and possibility. I took inspiration from the time of year in which I had composed it and stamped it, “Almost May�. Like springtime in the Northern Hemisphere, “Almost May� unfolds slowly and majestically, with ever-evolving layers for the senses to discover. What to listen for: ThemeThe main theme is first presented by the piano with minimal fanfare. This part was written to be easy enough for a child, which despite being sparing of notes, delivers rich harmonic content. Every note has been carefully curated for the optimal combination of accessibility and depth. Weaving chromatically into distantly-related keys, the melody takes small steps into contrasting musical spaces. In a wordless procession, the storyline plays out, as if the theme discovers that someone very different lives next door, and they slowly become inseparable. The piano is accompanied by an airy touch of brushes against a snare drum, like the pitter patter of soft feline steps. In the low frequency range, the upright bass supports and deepens the tonal palette with its earthy underpinnings. What to listen for: Variation I The unmistakable string section arrives like a breath of warm air. Lush, warm and reassuring like sunshine on your cheeks, the string parts begin with long tones. This broadness and stability will evolve into more layers of complexity throughout the section. While the role of the string section is background accompaniment, it undergoes textural changes which allow for some layers to briefly rise to the forefront as melody. Careful listening to the string parts will reveal an oceanic churning, a motion from background to foreground with expansions and contractions along the way. Floating overtop this density is the improvised piano solo, with ascending gestures that progress in detail and density. Each instrument enters a general unfolding and growth period in the first variation. The bass and drums include more fills than before, as the ensemble tends gradually toward more grandeur. What to listen for: Variation II The final variation opens with a decadent treatment of the melody. What was initially expressed by a soloist as a childlike plea is reimagined as a two-part conversation between the piano and lead viola. The obbligato voiced in the viola is a derivation of the melody that holds the space between phrases so the listener's attention is passed seamlessly between the piano and viola part. This dialogue features commentary on the original melody in the form of ornamentation and taking surprising pathways to expected destinations. The rhythm section (bass and drums) takes more liberties in creating a verdant soundscape as the ensemble rises to a final climax.

String Orchestra - Digital Download SKU: AX.00-PC-0015953_VN2 2nd Violin. Arranged by Michael Story. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0015953_VN2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015953_VN2). UPC: 038081453439.Here are four highly recognizable pop tunes with identifiable teaching concepts at the forefront. These titles can be performed in one concert or distributed throughout the year to foster your teaching objectives. Titles included are Don't Stop Believin', Wipe Out, Over the Rainbow, and Scooby Doo, Where Are You? (5:45).

Alto Saxophone Duet Alto Saxophone - Level 3 - Digital Download SKU: A0.1450697 Composed by Johann Sebastian Bach. Arranged by Rodrigo Faleiros. Baroque,Chamber,Standards,Traditional. 2 scores. 3 pages. Rodrigo Faleiros #1029944. Published by Rodrigo Faleiros (A0.1450697). Dive into the baroque elegance of Johann Sebastian Bach’s “Menuet” with this charming arrangement for two alto saxophones. Drawn from the treasured notebooks of Anna Magdalena, this piece has been thoughtfully adapted for players with intermediate skills. The arrangement encourages a duet of alto sax to gracefully navigate the beloved melodies, offering a new take on a historic composition. Key Features: Intermediate Level: Tailored for players with intermediate abilities, this arrangement respects Bach’s original work while presenting an enjoyable challenge. Duet Arrangement: Crafted for two alto saxophones, this arrangement fosters a dynamic exchange between players, reflecting the sophistication of the baroque period. Ideal for recitals, teaching moments, or the sheer pleasure of playing Bach’s music, this arrangement brings the finesse of the baroque era to the forefront with each note. Experience the collaborative joy of this alto sax duet and let the legacy of Bach’s Menuet resonate through your performance. ???? Check out my other arrangements clicking here! ????

Brass Ensemble - Level 4 - Digital Download SKU: A0.870403 Composed by Giovanni Gabrieli. Arranged by Randy A. Steinberg. Baroque. Score and parts. 48 pages. Randy A. Steinberg #1989397. Published by Randy A. Steinberg (A0.870403). Giovanni Gabrieli was no mere composer. He was an event. The figure at the nexus of many things all coming together in one grand tide. The greatest church in the greatest city of Europe. Freedom of intellectual thought. A Venetian School of composers at the forefront of musical innovation. The printing press and musical publishing. A Doge (Chief Magistrate or Duke) willing to spend, and spend big, on musical pomp and ceremony. A dearth of wealth and money to fund the grandest celebrations. He was the leading Italian composer and organist in Venice at its greatest heights at the chasm between the end of the Renaissance and the beginning of the Baroque period in music. Presented here is a Canzona published around 1615 for 8 brass divided into 2 choirs. A variety of substitute parts are also included to handle the trombone parts with French horns and tuba. Starting with one of Gabrieli’s more beautiful themes repeated in both choirs, the piece builds in technical complexity and rhythm until its exciting finale. A true delight for almost any audience!

Brass Ensemble - Level 4 - Digital Download SKU: A0.870408 Composed by Giovanni Gabrieli. Arranged by Randy A. Steinberg. Baroque. Score and parts. 65 pages. Randy A. Steinberg #1999307. Published by Randy A. Steinberg (A0.870408). Giovanni Gabrieli was no mere composer. He was an event. The figure at the nexus of many things all coming together in one grand tide. The greatest church in the greatest city of Europe. Freedom of intellectual thought. A Venetian School of composers at the forefront of musical innovation. The printing press and musical publishing. A Doge (Chief Magistrate or Duke) willing to spend, and spend big, on musical pomp and ceremony. A dearth of wealth and money to fund the grandest celebrations. He was the leading Italian composer and organist in Venice at its greatest heights at the chasm between the end of the Renaissance and the beginning of the Baroque period in music. Presented here is a Canzona published around 1615 for 12 brass divided into 3 choirs. A variety of substitute parts are also included to handle the trombone and trumpet parts with French horns and tuba. One of Gabrieli’s best with antiphonal choirs performing a wonderful bugle like bell-tone melody in major triads. A great audience pleaser!

Concert Band - Digital Download SKU: AX.00-PC-0015793_BTX E-flat Baritone Saxophone. Arranged by Michael Story. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0015793_BTX. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015793_BTX). UPC: 038081440828.Here are four highly recognizable pop tunes, carefully scored for your beginners but with identifiable teaching concepts at the forefront. Use these wonderful melodies to reinforce articulations, form, chromatics, legato and staccato style, dynamics, and balance. These titles can be performed in one concert setting or distributed throughout your teaching year to foster your teaching objectives. Titles included in this first installment are The Magnificent Seven, Wipe Out, Over the Rainbow, and Scooby Doo, Where Are You? Brilliant! (6:00).