Composed by Various. Arranged by Sharon Wilson. Christian, Sacred, Folk, Christmas, Children's Music. Score, Set of Parts, Solo Part. 87 pages. Published by Sharon Wilson

Small Ensemble Boomwhackers,Piano Accompaniment - Level 2 - Digital Download SKU: A0.569886 By Sharon Wilson. By Various. Arranged by Sharon Wilson Music. Children,Christmas,Folk,Sacred,Traditional. Score and parts. 77 pages. Sharon Wilson #6609343. Published by Sharon Wilson (A0.569886). This collection contains 10 familiar Christmas carols arranged for a one octave, 13-note chromatic scale Boomwhackers® choir with Piano accompaniment. For each song, the Piano provides an introduction then the Boomwhackers® play the melody and occasional 2-part harmony. Each song also includes an optional repeat and final ending in case a longer song is desired. For each song, there is a combined score with both instruments (Boomwhackers® and Piano) on a grand staff plus a separate color-coded score for the Boomwhackers®. The color-coded Boomwhackers® score uses the Chroma-Notes™ Colored Music System. If you have a set of tubes with a different color scheme, Chroma-Notes Stick Ons can be purchased and applied so the Boomwhackers® match this color scheme. A color-coded note chart is also provided for each song which shows the Boomwhackers® notes used as well as the number of times each note is played. The note distribution is helpful when assigning notes to whackers. You may want to assign fewer notes to beginners or evenly distribute the tubes between all whackers. The color-coded scores are enlarged so the colors are easier to distinguish and all sharps and flats are displayed (shown in the key of C) as reminders for beginning musicians. Also, only filled noteheads (quarter and eighth notes) are used so the notes are full color and easier to see. The number of whackers needed will vary depending on the skill level of the participants. For more advanced players, each person could be assigned two or three notes. For beginners, it is best to assign one or two notes to each person. Note assignment suggestions are included for each song and range from 4 to 8 whackers. These familiar Christmas carols are perfect for small groups and especially beginning musicians. Most songs can be performed with as few as 5 people (4 whackers and 1 piano player). The Piano accompaniment is written for an intermediate player. Other suggestions and uses: * use multiple sets of Boomwhackers® to amplify the sound and allow more people to enjoy whacking the tubes* use as part of the music education for children at school, home, or church* these colorful, inexpensive instruments can be enjoyed by all ages and add a fun, unique element to activities and programs: senior centers, family reunions, church retreats, home school groups, just to name a few Permission is granted to make up to 10 copies of each score. For more than 10 copies, please purchase additional sets. Each song is also available separately with accompanying preview pages and audio samples. Song titles included in this collection: Angels We Have Heard on HighBring a Torch, Jeannette, IsabellaDing Dong! Merrily on HighJoy to the WorldO Come, All Ye FaithfulO Come, O Come, EmmanuelO Thou Joyful DaySimple GiftsThe First NoelWe Three KingsBoomwhackers® is a registered trademark of Rhythm Band Instruments LLC, used by permission. Visit Sharon Wilson's website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic

Alto Saxophone,Piano - Level 1 - Digital Download SKU: A0.522194 Composed by Colin Kirkpatrick. Instructional,Standards. Score and part. 28 pages. Colin Kirkpatrick Publications #3134129. Published by Colin Kirkpatrick Publications (A0.522194). My Saxophone and Me consists of fourteen short and delightful pieces written especially for absolute beginners up to students at elementary level. The book comes in two versions, one for B flat saxophones and the other for E flat instruments. However, for obvious reasons you cannot mix B flat and E flat instruments in the same group.   The pieces are intended as supplementary material to your usual tutor books. The music can be used with any number of players and the pieces remain in the lower register. Several early pieces use only the notes B, A and G and the key of G major predominates. Six of the pieces use only half notes (minims) and quarter notes (crotchets). The low C, a tricky note for some beginners, has been avoided almost completely. On the one occasion it appears, the note C an octave above is given as optional. Although the pieces are arranged in approximate order of difficulty you can play them in any order you want, depending on the musical needs of the student. Your students are sure to enjoy these pieces, which are both easy on the fingers and easy on the ear! Several pieces have a few measures (bars) rest in the middle not only to give the player a break and add musical contrast but also to give the experience of counting empty bars during the music. When space allows, piano cues appear in the solo part. Some of the later pieces in the book have good performing potential and could be strung together in any order to create a small suite. Every piece has a short piano introduction so that the student can sense the tempo and musical style before playing. The keyboard accompaniments have been kept as simple as possible with the minimum number of notes. Dynamic markings (e.g. piano and mezzo-forte) are used from the start, but phrasing has been omitted from the solo part. This is because the teacher is usually in the best position to suggest phrasing within the physical capabilities of each student. Slurs have been employed sparingly and only when necessary. An MP3 file of all the piano accompaniments is also available as a separate item. You can find it here: https://www.sheetmusicplus.com/title/20679821The book includes a well-known folk lullaby from Wales and a lively folk song from Thailand which is known by all Thai people because it’s taught in elementary schools throughout the country. The music has been converted into pdf files at 1,200 dpi which will produce professional looking printed copies of high quality. However, the output quality will also depend on your own printer settings and capabilities. The publication consists of a teacher's book (18 pages) and a student's book (8 pages) both contained in the same pdf file. The sample MP3 (click on the “Listenâ€� button above) contains recordings of Nice ‘n Easy  (No 2); Lazy Days (No 4); Waltzing Around (No 7); Just a Minuet (No 11) and Donkey Trot (No 12). Colin Kirkpatrick studied at London’s Royal College of Music. He followed a career in music education. He was a High School Music Director in London for about fifteen years and later became a Music Education Adviser for local government, with responsibility for training teachers and directing the instrumental teaching service. The work in education gave him many opportunities for composing. He has published a great deal of music and his publishers include Boosey & Hawkes, Novello, Paxton, Schott, Oxford University Press, Chester, Belwin Mills and Intrada (Netherlands). His music has been performed and broadcast all over Europe as well as in Japan, Thailand, Australia and the USA. He holds MA and PhD degrees. He was a High School Music Director for about fifteen years and then became a Music Education Adviser for local government, with the added responsibility for training teachers and overseeing the instrumental service. He has writte.

Piano,Tenor Saxophone - Level 1 - Digital Download SKU: A0.522193 Composed by Colin Kirkpatrick. Contemporary,Instructional,Standards. Score and part. 28 pages. Colin Kirkpatrick Publications #3133717. Published by Colin Kirkpatrick Publications (A0.522193). My Saxophone and Me consists of fourteen short and delightful pieces written especially for absolute beginners up to students at elementary level. The book comes in two versions, one for B flat saxophones and the other for E flat instruments. However, for obvious reasons you cannot mix B flat and E flat instruments in the same group.   The pieces are intended as supplementary material to your usual tutor books. The music can be used with any number of players and the pieces remain in the lower register. Several early pieces use only the notes B, A and G and the key of G major predominates. Six of the pieces use only half notes (minims) and quarter notes (crotchets). The low C, a tricky note for some beginners, has been avoided almost completely. On the one occasion it appears, the note C an octave above is given as optional. Although the pieces are arranged in approximate order of difficulty you can play them in any order you want, depending on the musical needs of the student. Your students are sure to enjoy these pieces, which are both easy on the fingers and easy on the ear! Several pieces have a few measures (bars) rest in the middle not only to give the player a break and add musical contrast but also to give the experience of counting empty bars during the music. When space allows, piano cues appear in the solo part. Some of the later pieces in the book have good performing potential and could be strung together in any order to create a small suite. Every piece has a short piano introduction so that the student can sense the tempo and musical style before playing. The keyboard accompaniments have been kept as simple as possible with the minimum number of notes. Dynamic markings (e.g. piano and mezzo-forte) are used from the start, but phrasing has been omitted from the solo part. This is because the teacher is usually in the best position to suggest phrasing within the physical capabilities of each student. Slurs have been employed sparingly and only when necessary. An MP3 file of all the piano accompaniments is also available as a separate item. You can find it here: https://www.sheetmusicplus.com/title/20679835 The book includes a well-known folk lullaby from Wales and a lively folk song from Thailand which is known by all Thai people because it’s taught in elementary schools throughout the country. The music has been converted into pdf files at 1,200 dpi which will produce professional looking printed copies of high quality. However, the output quality will also depend on your own printer settings and capabilities. The publication consists of a teacher's book (18 pages) and a student's book (8 pages) both contained in the same pdf file. The sample MP3 (click on the “Listenâ€� button above) contains recordings of Starting Tune (No 1); Island Song (No 3); Waltzing Around (No 7); Just a Minuet (No 11) and Donkey Trot (No 12). Colin Kirkpatrick studied at London’s Royal College of Music. He followed a career in music education. He was a High School Music Director in London for about fifteen years and later became a Music Education Adviser for local government, with responsibility for training teachers and directing the instrumental teaching service. The work in education gave him many opportunities for composing. He has published a great deal of music and his publishers include Boosey & Hawkes, Novello, Paxton, Schott, Oxford University Press, Chester, Belwin Mills and Intrada (Netherlands). His music has been performed and broadcast all over Europe as well as in Japan, Thailand, Australia and the USA. He holds MA and PhD degrees. He was a High School Music Director for about fifteen years and then became a Music Education Adviser for local government, with the added responsibility for training teachers and overseeing the instrumental service. He has written.

Flute,Piano - Level 1 - Digital Download SKU: A0.522191 Composed by Colin Kirkpatrick. Contemporary,Instructional. Score and part. 28 pages. Colin Kirkpatrick Publications #3130519. Published by Colin Kirkpatrick Publications (A0.522191). My Flute and Me consists of fourteen short and delightful pieces written especially for absolute beginners up to students at elementary level. The pieces are intended as supplementary material to your usual tutor books. The music can be used with any number of players and the pieces remain in the lower register. Several early pieces use only the notes B, A and G and the key of G major predominates. Six of the pieces use only half notes (minims) and quarter notes (crotchets). The low C, a tricky note for many beginners, has been avoided almost completely. On the one occasion it appears, the note C an octave above is given as optional. Although the pieces are arranged in approximate order of difficulty you can play them in any order you want, depending on the musical needs of the student. Your students are sure to enjoy these pieces, which are both easy on the fingers and easy on the ear! The music is identical to that in the companion book My Recorder and Me. Several pieces have a few measures (bars) rest in the middle not only to give the player a break and add musical contrast but also to give the experience of counting empty bars during the music. When space allows, piano cues appear in the solo part. Some of the later pieces in the book have good performing potential and could be strung together in any order to create a small suite. Every piece has a short piano introduction so that the student can sense the tempo and musical style before playing. The keyboard accompaniments have been kept as simple as possible with the minimum number of notes. Dynamic markings (e.g. piano and mezzo-forte) are used from the start, but phrasing has been omitted from the solo part. This is because the teacher is usually in the best position to suggest phrasing within the physical capabilities of each student. Slurs have been employed sparingly and only when necessary.An MP3 file containing all the play-along piano accompaniments is available as a separate item here: https://www.sheetmusicplus.com/title/20679840 The book includes a well-known folk lullaby from Wales and a lively folk song from Thailand which is known by all Thai people because it’s taught in elementary schools throughout the country. The music has been converted into pdf files at 1,200 dpi which will produce professional looking printed copies of high quality. However, the output quality will also depend on your own printer settings and capabilities. The publication consists of a teacher's book (18 pages) and a student's book (8 pages) both contained in the same pdf file. The sample MP3 (click on the “Listen� button above) contains recordings of Starting Tune (No 1); Nice ‘n Easy (No 2); Waltzing Around (No 7) and Donkey Trot (No 12). The composer, Colin Kirkpatrick studied at London’s Royal College of Music. After graduation, he followed a career in music education and composed music as an active sideline. His publishers include Boosey & Hawkes, Novello, Paxton, Schott, Oxford University Press, Belwin Mills and Intrada (Netherlands). His music has been performed and broadcast all over Europe as well as in Japan, Thailand, Australia and the USA. He was a High School Music Director for about fifteen years and then became a Music Education Adviser for local government, with the added responsibility for training teachers and overseeing the instrumental service. He has written articles for magazines in both the UK and the USA and holds MA (Hons) and PhD degrees.

Small Ensemble - Digital Download SKU: A0.835769 Composed by Paul Burnell. Contemporary. Score and parts. 3 pages. Paul Burnell #3074281. Published by Paul Burnell (A0.835769). A text piece for one or more speakers with optional rhythmic percussion accompaniment performed ad libitum.Where the text is presented in bold the speakers should speak loudly, giving particular emphasis to text in capital letters. Where the text is presented in non-bold smaller text styles the speakers should speak less loudly or softer.   The speakers should vary the pitch of their voice throughout to give emphasis to the structure and to avoid a monotonous tonal delivery.   The repeated ‘words’ instinctively suggest a repetitive rhythmic style of delivery - this is fine.   The spaces in the text can be interpreted as rests. If there is more than one speaker the performers may either speak in unison throughout or stagger their entries and echo or overlap freely, but without losing the sense of the overall structure of the text.  Multiple speakers may also devise co-ordination points within the piece to co-ordinate collective unisons - then drift apart and overlap again.  A single speaker could also perform with an echoing sound effect that gives the impression of multiple voices. If performing with percussion, then a pulsed rhythmic style should be used.  The percussion may be freely chosen - drum kit, ‘found’ instruments, body percussion, pre-recorded backing track etc. - performing in any rhythmic style, but not detracting from or obscuring the vocal delivery. Programme note: ‘Wha-Do-Ya-Mean?’ was composed in 2008.   It was tested as a warm-up exercise for the CoMA London Ensemble, and then developed into a piece, first performed by Paul Burnell at Battersea Arts Centre, London in October 2008 and then included on the 2010 album ‘Sticking with Childish Things’.  It has subsequently been performed by CoMA Singers. The inspiration for the piece was derived from an increasingly fractious and reductive argument between two people, where one person was overheard saying What do you mean ‘what do you mean’?  This statement illustrated the pointlessness of the argument, and how comically ridiculous and meaningless it had become, and effectively ended it.

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.

Choral Choir (SA) - Level 4 - Digital Download SKU: A0.999343 Composed by Dennis A. Westgate. Christian,Musical/Show,Pop,R & B,World. Octavo. 83 pages. Tyne Music #5869115. Published by Tyne Music (A0.999343). BROKEN DOLL: A full length family play in the TYNE ONSTAGE series of original musicals. With Drama, Comedy and Song . This is an educational piece for Directors or Drama Teachers in education or the Performing Arts.   Set in Heaven, Broken Doll tells the story of a group of recently deceased young women looking down on a teenage girl who is contemplating suicide. They are not told why and the role of the group is to persuade the girl's Spirit, to return to its host. There are a wide range of characters within the piece and although they all have one thing in common, (they are all female), their outlooks and life experiences are naturally all very different and each has an opinion on the cause of the young girl's demeanour and to come up with with a proposition on how to save the girl’s life.    This is presented through the music and dialogue. Vocally the cast will have different capabilities and timbres.This diversity of styles in characters and the memorable musical content should appeal to teenagers as well as family members.   The stage set is very basic, making the overall cost much lower, allowing it to be performed anywhere with a suitable space. It also has the potential to be filmed and the subsequent DVD could then be made available to anyone working with young people. All the necessary advice, information and useful contacts, should be provided in the programme notes. The album includes the Piano & Vocal Score along with the full Libretto.For full information please see my website:- https://www.tynemusic.com/broken-dollP.S. There are also a set of band parts available on request from the composer.SONG TITLES 1)     Look to the Stars 2)     Sad Reflections 3)     Three Little Words 4)     Morning Mist (ballet sequence) 6)     Pills & Potions 7)     Men! 8)     Don’t Talk to Me 9)     Poor Sister10)    Grains of Sand11)    Some Say12)    Broken Doll

Small Ensemble Drums,Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.802642 By Wings. By Linda McCartney and Paul McCartney. Arranged by Peet du Toit. Film/TV. Score and parts. 36 pages. Peet du Toit #6115473. Published by Peet du Toit (A0.802642). Silly Love Songs is a song written by Paul McCartney and Linda McCartney and performed by Wings. The song appears on the 1976 album Wings at the Speed of Sound. It was also released as a single in 1976, backed with Cook of the House. The song, written in response to John Lennon and music critics accusing McCartney of predominantly writing silly love songs and sentimental slush, also features disco overtones.The song was McCartney's 27th number one as a songwriter; the all-time record for the most number one hits achieved by a songwriter.With this song, McCartney became the first person to have a year-end No. 1 song as a member of two distinct acts. McCartney previously hit No. 1 in the year-end Billboard chart as a member of the Beatles with I Want to Hold Your Hand in 1964 and Hey Jude in 1968.Silly Love Songs has since appeared on multiple McCartney greatest hits compilations, including Wings Greatest and All the Best!. The song has also appeared on the Hits section of the compilation album Wingspan: Hits and History. Despite its popularity, McCartney has not performed the song live since the dissolution of Wings.Silly Love Songs was written as a rebuttal to music critics (as well as John Lennon) who had criticized McCartney for writing lightweight love songs. Author Tim Riley suggests that in the song, McCartney is inviting his audience to have a laugh on him, as Elvis Presley had sometimes done. But over the years people have said, Aw, he sings love songs, he writes love songs, he's so soppy at times. I thought, Well, I know what they mean, but, people have been doing love songs forever. I like 'em, other people like 'em, and there's a lot of people I love -- I'm lucky enough to have that in my life. So the idea was that you may call them silly, but what's wrong with that? The song was, in a way, to answer people who just accuse me of being soppy. The nice payoff now is that a lot of the people I meet who are at the age where they've just got a couple of kids and have grown up a bit, settling down, they'll say to me, I thought you were really soppy for years, but I get it now! I see what you were doing! - Paul McCartney, Billboard Enjoy my brassy version of Silly Love Songs

Piano Solo - Level 3 - Digital Download SKU: A0.1192328 Composed by Kenny Ascher and Paul Williams. Arranged by Arranged by Elena Fortin. Children,Contemporary,Film/TV,Standards. Score. 5 pages. Elena Fortin #791761. Published by Elena Fortin (A0.1192328). The Rainbow Connection from The Muppet MovieIntermediate Piano Solo arrangement by Elena Fortin. Original words and music by Kenneth L. Ascher and Paul Williams.Most people hear the intro of this piece and immediately think of Kermit the Frog, strumming his banjo and singing this beautiful little melody. It is one of the very first sheets of music that I went out and purchased at our local music store. I was so excited to learn it! Fast forward many years later (ahem!) and I am so happy to see it entertaining a whole new generation of people. On YouTube, Kermit uploaded a special performance of it in April 2020!I performed it as a duet with a student at a recital and it was a big hit (we even came up with our own choreography to go along with the piece!) This melody is one of those timeless and iconic pieces that will forever live in my heart. I was excited to see that I would be able to share an arrangement I made!My version starts out in the key of A major and offers a simple, more pianistic left hand accompaniment. Smooth, flowing arpeggios accompany most of the piece. The first verse is left to be fairly simple and lets the melody shine. The second verse has more harmony in the right hand and some fills that build on the melody. The key change has more movement and signals the last verse done in a very full, orchestra-like sound. The finish brings us back to a more simple arrangement--back to it's humble beginnings!I hope I made Kermit proud!Please check out my other arrangements available on SheetMusicPlus and Sheet Music Direct.WIth love,Elena

SATB choir (choir divisi) unaccompanied - Difficult - Digital Download SKU: MQ.8452-E Composed by Frank Ferko. Advanced/Collegiate. Secular, 21st Century, Creation/Nature. Instrument part. 20 pages. Duration 6 minutes, 7 seconds. E. C. Schirmer Music Company - Digital #8452-E. Published by E. C. Schirmer Music Company - Digital (MQ.8452-E). English.In the summer of 2011, while I was visiting my friends Don and Sally Roberts in Santa Fe, Sally asked me if I would be interested in writing a new choral work for Don in celebration of his upcoming 75th birthday. The idea appealed to me very much, so I readily agreed to write the piece. Since Don has enjoyed a lifelong interest in the American Southwest Pueblo people and their customs, Sally provided me with several Tewa texts, in English translation, to consider for musical setting. I was particularly drawn to the imagery of Song of the Sky Loom, so that poem became the basis for the new work. The music begins with two baritone soloists singing an introductory 'call-and-response' to which the entire chorus eventually responds. The opening line of text is first presented in fragmented form, as if voices from all areas of nature gradually rise up and then merge into a unified chordal texture. As the text turns to the imagery of weaving, the musical texture, accordingly, becomes contrapuntal: individual melodic lines, sung by solo voices or small groups (the 'weft'), intertwine with each other and also with the main chorus, which provides the overall harmonic structure (the 'warp'). The following chorale section, infused with occasional chromatic inflections, represents the massive 'rainbow' in the text and brings the work to a unified conclusion. Song of the Sky Loom was first performed by the Santa Fe Desert Chorale, under the direction of Joshua Habermann, on July 19, 2016 with three subsequent performances during the following two weeks. -Frank Ferko Duration: 6:07.

String Quartet String Quartet - Level 5 - Digital Download SKU: A0.987847 Composed by Robert M. Greenberg. 20th Century. Score and parts. 178 pages. Robert M. Greenberg #90283. Published by Robert M. Greenberg (A0.987847). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 33 minutes Year of composition: 1995 Program Note: I. With Friends Like These II. Inner Voices III. Little Hands and Little Feet IV. Freund Barry V. Friendly Persuasion VI. All For One and One For All I've known the Alexander String Quartet since 1987. More than just colleagues, they have become my friends: I've traveled with them, performed with them, watched them rehearse, dined with them in their homes and they in mine; I know their children and they know my children. Throughout the time I've known the members of the quartet I have observed the relationship between them, that special bond shared by the members of any touring band, described by one pundit as being like a bad marriage with no sex. Such issues notwithstanding, this particular marriage works. A string quartet represents, perhaps, the ultimate musical compromise between individual incentive and the common good. In a string quartet, by definition, four distinct instrumental voices and four different instrumental roles unite to create a whole greater than its parts. And, lest we forget, behind each instrument is a person, with his own particular attitudes, feelings, needs, and, yes, issues, all of which must be tempered and blended for the common good of a good performance. Among Friends is, its liberties aside, about the four people behind the instruments of the Alexander String Quartet and their relationships with one another; the way they play, rehearse, get along and, on occasion, not get along. The first movement, With Friends Like These is gritty and contentious in tone. The players argue, debate, annoy, tease, irk, cajole, abuse, harass, form brief alliances, heap merde upon, gang up on, and otherwise find endless ways to irritate each other. It is in this movement that the individual characters of the four instrumental parts stand in highest relief: the first violin as coloratura prima donna, forever attempting to soar above it all; the second violin as the voice in the wilderness, the viola as the voice of reason and the 'cello as mover and shaker. The opening of the movement is marked argument in progress; with greatest intensity. The second, third and fourth movements are a series of portraits, played without a break. In movement two, Inner Voices, the second violin and viola are featured in a collegial and decidedly non-contentious dialogue. Movement three, Little Hands and Little Feet, is the quiet center of the quartet. It is here that the first violin finally attains the lyric heights vainly sought in the first movement. The fourth movement is a vigorous dance entitled Freund Barry. This movement honors three great friends: Dr. Barry Gardiner, whose friendship and support made the writing of this quartet possible; Gustav Mahler, whose Symphony No. 4, second movement (Freund Heine) inspired this one; and Sandy Wilson, who first encouraged me to compose my second string quartet (Child's Play) for the Alexander in 1987 and whose boisterous 'cello is Freund Barry's alter-ego. The fifth movement is entitled Friendly Persuasion. Rapid fire repeated notes, accompanimental figures and melodic lines are shuttled about from voice to voice, each time elaborated or altered in some way. In this way the music slowly metamorphoses, ultimately arriving at a version of the argumentative music that concluded the first movement. Movement six, All For One and One For All is a fast, brief coda/finale, during which the quartet plays primarily in unison, the musical antithesis of the contentious argument that began the quartet. Among Friends was commissioned by the Koussevitzky Foundation in the Library of Congress and the Alexander String Quartet. Among Friends i.