Piano Solo - Digital Download SKU: A0.955409 Composed by Neal Fitzpatrick. Contemporary,Instructional,World. Score. 5 pages. Neal Fitzpatrick Editions #6021213. Published by Neal Fitzpatrick Editions (A0.955409). This is Impromptu No.18 For Piano From Twenty Impromptus For Piano by Neal Fitzpatrick. There is a long tradition of arranging piano music for guitar. This edition reverses that tradition. This set of music for piano is based my Twenty Etudes For Guitar. The guitar and the piano are certainly cousins so I believe the essence of works for one instrument can be expressed on the other, in either direction. While these pieces may in fact work as etudes for piano I have purposefully renamed them. Whether or not they work as etudes I will leave up to each individual pianist and piano teacher the extent of their didactic usefulness. Ultimately though all music can be used for study and my wish is these pieces can be used for study and performance. They are relatively brief and ideally played in sets, the number and selections being determined by the performer. Guitarist Neal Fitzpatrick has a B.M. from the Hartt School where he studied with Alan Spriestersbach and his M.M. from The Yale School of Music where he studied with Benjamin Verdery. He also studied  extensively with Sharon Isbin and Sal Salvador. Based in Connecticut, he is active as a soloist and in the chamber music scene. You can contact him here:http://www.nealfitzpatrickguitar.com

Piano Solo - Digital Download SKU: A0.955411 Composed by Neal Fitzpatrick. Contemporary,Standards,World. Score. 7 pages. Neal Fitzpatrick Editions #6021223. Published by Neal Fitzpatrick Editions (A0.955411). This is Impromptu No.20 For Piano From Twenty Impromptus For Piano by Neal Fitzpatrick. There is a long tradition of arranging piano music for guitar. This edition reverses that tradition. This set of music for piano is based my Twenty Etudes For Guitar. The guitar and the piano are certainly cousins so I believe the essence of works for one instrument can be expressed on the other, in either direction. While these pieces may in fact work as etudes for piano I have purposefully renamed them. Whether or not they work as etudes I will leave up to each individual pianist and piano teacher the extent of their didactic usefulness. Ultimately though all music can be used for study and my wish is these pieces can be used for study and performance. They are relatively brief and ideally played in sets, the number and selections being determined by the performer. Guitarist Neal Fitzpatrick has a B.M. from the Hartt School where he studied with Alan Spriestersbach and his M.M. from The Yale School of Music where he studied with Benjamin Verdery. He also studied  extensively with Sharon Isbin and Sal Salvador. Based in Connecticut, he is active as a soloist and in the chamber music scene. You can contact him here:http://www.nealfitzpatrickguitar.com

Marimba Solo - Digital Download SKU: A0.955430 Composed by Neal Fitzpatrick. Arranged by Neal Fitzpatrick. Contemporary,World. Individual part. 6 pages. Neal Fitzpatrick Editions #6048849. Published by Neal Fitzpatrick Editions (A0.955430). This is Impromptu No.18 For Marimba From Twenty Impromptus For Marimba by Neal Fitzpatrick. This set of music for Marimba is based my Twenty Etudes For Guitar. Both being polyphonic instruments the guitar and the marimba are certainly distant cousins so I believe the essence of works for one instrument can be expressed on the other, in either direction. While these pieces may in fact work as etudes for marimba I have purposefully renamed them. Whether or not they work as etudes I will leave up to each individual percussionist and teacher the extent of their didactic usefulness. Ultimately though all music can be used for study and my wish is these pieces can be used for study and performance. They are relatively brief and ideally played in sets, the number and selections being determined by the performer. Guitarist Neal Fitzpatrick has a B.M. from the Hartt School where he studied with Alan Spriestersbach and his M.M. from The Yale School of Music where he studied with Benjamin Verdery. He also studied  extensively with Sharon Isbin and Sal Salvador. Based in Connecticut, he is active as a soloist and in the chamber music scene. You can contact him here:http://www.nealfitzpatrickguitar.com

Piano Solo - Level 3 - Digital Download SKU: A0.862545 Composed by Michael Bomier. Contemporary,Instructional,Standards. Score. 1 pages. Michael Butkus-Bomier #2034365. Published by Michael Butkus-Bomier (A0.862545). What set of piano etudes would be complete without a selection for the Left Hand alone! This one uses half-steps and tritones, not the usual component parts of a tuneful melody. Yet, the left-hand 5th finger or thumb plays an almost child-like tune, on mostly white keys, while the half-steps and tritones swirl about, above or below the melody. The song is in C major, and shifts to A minor, then back to C major. The embellishments are utterly chromatic, and essentially pre-determined by the intervals used. A short piece, running time is less than a minute. Pedal or not, as you see fit. And, Bring out the Melody, of course! MBB.

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1238015 Composed by JYE BRYANT. Broadway,Celtic,Folk,Irish,Musical/Show. Score. 9 pages. Jye Bryant #833482. Published by Jye Bryant (A0.1238015). From CAPTAIN MOONLITE - A New Australian Musical created by Jye BryantOn the eve of Andrew George Scott's execution in Darlinghurst Gaol in 1880, he is determined to hold the liars to account.

Organ - Level 3 - Digital Download SKU: A0.898551 Composed by Matthew Alan Edwards. Arranged by Matthew Alan Edwards. Baroque,Christmas,Concert,Renaissance,Sacred. Score. 6 pages. Matthew Alan Edwards #4266213. Published by Matthew Alan Edwards (A0.898551). Now offering 25% off my SMP price at MatthewAlanEdwards.com/op-7 !Canzona alla terza Verbum supernum prodiens was composed late one night after I was inspired by the chant melody as found in the Hymnal 1982, hymn 63. Rather than compose on the computer as I usually do, I wrote by hand as I determined the best four-part canonic treatment for each of the phrases of the chant. Composing this was akin to assembling a puzzle, both in mindset (this note fits best here) and addictive quality (need to finish this now!). Originally conceived as a short organ piece, I quickly chose to add the English text from the Hymnal 1982 then text directly from the Liber Usualis, a Catholic book of Gregorian chants commonly used until the reforms of the Second Vatican Council (Vatican II). This piece is similar in style to an Italian Renaissance canzona or early German Baroque kanon. It should be performed with performance practice of those eras in mind, including lifts after dotted notes, metric accents, and minimal vibrato, especially at cadences. It may be performed in alternatum with one of the choral versions (SATB English, SATB Latin, SSA/TTB Latin, or SSA/TTB English) or with a soloist(s) on the chant or as an organ solo. I have provided the first line of chant below and all six verses in Latin with translations on the next page. The SSA Latin version was adapted from the original SATB version for the women of the Hillcrest High School choral program under the direction of Dr. Khristi Motley in Tuscaloosa, Alabama. It reduces the original four-voice setting to three voices without sacrificing any canonic entrances. Either the two-staff or single-staff version may be performed by solo organ. In the single-staff version, stem direction decisions were made primarily for readability, not to show voice leading. Refer to the four-part, two-staff version for voice leading questions.Also available as SSA/TTB in Latin or English. SATB Latin/English versions coming soon!

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.

Piano Solo - Digital Download SKU: A0.486138 Composed by Matthew Nunes. Classical,Contemporary. Score. 40 pages. Matthew Nunes Music #104579. Published by Matthew Nunes Music (A0.486138). Listen to this piece hereHebdomad is a piano suite where each movement reflects a day in the week. The order is to be determined by the performer. There are 5,040 possible ways to order these movements - the current numerical designations are arbitrary. - Matthew Nunes Orlando, Florida.

Brass Quintet - Level 4 - Digital Download SKU: A0.1489530 Composed by Dr. Daniel N. Thrower. 21st Century,Chamber,Children,Jazz,Multicultural,World. 26 pages. Https://gildedmusicpress.com/ #1066394. Published by https://gildedmusicpress.com/ (A0.1489530). New Year’s Puzzle, Op. 145-C, for brass quintet was completed on 9 Jan 2024.  Between performing sets of Christmas carols at a mall on the outskirts of Tokyo, I purchased a stunning 1000-piece puzzle of Mount Fuji as a Christmas gift for my wife.  She is fond of puzzles.  When I started putting together time lapse videos with brass quintet music, the fast-motion working of a puzzle sounded intriguing.  We had just completed a different 1000-piece puzzle, so I estimated that the completed video would be less than a minute.  The camera and table were set up for the filming, and then I opened the box.  The tiny quarter-inch puzzle pieces shocked me!  I even let out a gasp.  However, everything was set up, and I was determined to get the time lapse footage.  The process took a great portion of three days.  Were it not for the end goal of a time lapse video, I think we would have abandoned the cursed puzzle long before completion.  We got it done on 2 Jan 2024 though, and several days later I revived a cute little ricky-ticky piece in the works, gave it a title, and completed it in two days.  One key moment is a musical laugh, as if the menacingly challenging puzzle were mocking us as we struggled so long to complete it.  Duration: 3:00.

Piano Solo - Level 5 - Digital Download SKU: A0.1189809 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 12 pages. Brian Golden #789404. Published by Brian Golden (A0.1189809). Prelude 2 in A Minor Aolian 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.

Voice (SSAA) - Level 4 - Digital Download SKU: A0.1170428 By Alessia Cara. By Lin-Manuel Miranda. Arranged by Matt Astle. A Cappella,Barbershop,Broadway,Contest,Festival,Film/TV,Musical/Show. Barbershop Quartet. 8 pages. Matt Astle Music #770797. Published by Matt Astle Music (A0.1170428). This arrangement of Moana's determined anthem will inspire and excite your audience.

Guitar,Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1363142 Composed by Rory M. Thompson. Christian,Praise & Worship,Religious. Score. 5 pages. New Horizons Music Studio, Inc. #947582. Published by New Horizons Music Studio, Inc. (A0.1363142). This is my lawnmover song.  I was out mowing and the tune and words popped into my mind.  I hummed along for awhile, and then ran in and recorded the tune on my synthesizer. I determined the chords and style, and proceeded from there.It's a mystery to me!Provided is a basic piano/vocal arrangement.  A bass could easily be used with drumset if you want.

Marimba Solo - Digital Download SKU: A0.955427 Composed by Neal Fitzpatrick. Arranged by Neal Fitzpatrick. Contemporary. Individual part. 2 pages. Neal Fitzpatrick Editions #6047249. Published by Neal Fitzpatrick Editions (A0.955427). This is Impromptu No.16 For Marimba From Twenty Impromptus For Marimba by Neal Fitzpatrick. This set of music for Marimba is based my Twenty Etudes For Guitar. Both being polyphonic instruments the guitar and the marimba are certainly distant cousins so I believe the essence of works for one instrument can be expressed on the other, in either direction. While these pieces may in fact work as etudes for marimba I have purposefully renamed them. Whether or not they work as etudes I will leave up to each individual percussionist and teacher the extent of their didactic usefulness. Ultimately though all music can be used for study and my wish is these pieces can be used for study and performance. They are relatively brief and ideally played in sets, the number and selections being determined by the performer. Guitarist Neal Fitzpatrick has a B.M. from the Hartt School where he studied with Alan Spriestersbach and his M.M. from The Yale School of Music where he studied with Benjamin Verdery. He also studied  extensively with Sharon Isbin and Sal Salvador. Based in Connecticut, he is active as a soloist and in the chamber music scene. You can contact him here:http://www.nealfitzpatrickguitar.com

Piano Solo - Level 4 - Digital Download SKU: A0.1292438 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #883008. Published by Brian Golden (A0.1292438). Prelude 20 in F# Minor Aolian 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.

1 Piano,4 Hands,Piano Duet - Level 2 - Digital Download SKU: A0.1494204 Composed by Ulrich Lehensteiner. 21st Century,Classical,Contemporary. Score. 23 pages. Ulrich Lehensteiner #1070815. Published by Ulrich Lehensteiner (A0.1494204). Remember What Is Lost, being the finale of the Remember-Waltzes, recapitulates all the previous waltzes' themes, slowly restoring them one by one and interweaving them with an original theme before coming to a grandiose, concert-like conclusion. Musically demonstrating how precious memories are (after maybe even having been forgotten for some time) still remembered after many years, the cycle ends on a positive and hopeful note.The Remember-Waltzes are a collection of seven waltz-like pieces for piano four hands, depicting the memories of various relatable scenes of a person's everyday-life, like the fervour of a determined loved one, the sereneness of a warm summer-day or the emotional rush of an ecstatic experience. Memories some would like to experience, some might actually have experienced.A musical reminder of times fondly remembered, but also of the feeling of how even those precious moments might grow pale over time, and how we still remember them fondly, but differently after the many years that might have passed since then.Contains score + parts.