Composed by David Cundy. 20th Century. Score. 12 pages. Published by David Cundy (S0.161365). - Score - 20th Century - David Cundy

Composed by Edward Elgar (1857-1934). Arranged by Frank Starobin. 20th Century, Romantic Period, Wedding, Funeral, Recital. Score, Set of Parts. 12 pages. Published by Frank Starobin (S0.224455). - Score,Set of Parts - 20th Century,Romantic Period,Wedding,Funeral,Recital - Frank Starobin

Composed by Stephen Foster (1826-1864). Arranged by David Warin Solomons. 21st Century, 20th Century, Neo-Classical. Score, Set of Parts. 12 pages. Published by David Warin Solomons (S0.107955). - Score,Set of Parts - 21st Century,20th Century,Neo-Classical - David Warin Solomons

By Mel Leven. Arranged by Toby Loftus. Score, Set of Parts. 12 pages. Published by Toby Loftus (H0.151387-173093). - Score,Set of Parts - - Toby Loftus

Composed by Chris Gordon. Contemporary Classical, Repertoire. Score. 12 pages. Published by Cool Wind Music Digital (S0.168711). - Score - Contemporary Classical,Repertoire - Cool Wind Music Digital

Composed by Edward Elgar (1857-1934). Arranged by Kenneth Abeling. 20th Century, European. Score, Set of Parts. 12 pages. Published by LINCOLN MUSIC PUBLICATIONS (S0.237335). - Score,Set of Parts - 20th Century,European - LINCOLN MUSIC PUBLICATIONS

Composed by Lowell Mason (1792-1872). Arranged by James Strange. 21st Century, Christian, Christmas. Individual Part, Score, Set of Parts. 12 pages. Published by Penny Music Co. (S0.157547). - Individual Part,Score,Set of Parts - 21st Century,Christian,Christmas - Penny Music Co.

Oboe solo - Digital Download SKU: S9.Q52804 For oboe solo. Composed by Anno Schreier. This edition: single sheet. Downloadable, Separate edition. Duration 12 minutes. Schott Music - Digital #Q52804. Published by Schott Music - Digital (S9.Q52804). Anno Schreier komponiert in seinem Oboen-Zyklus eine Zeitreise verschiedener Medea-Rezeptionen. Die sechs Klagegesänge beziehen sich in einer Art Variationsreihe aufeinander und nehmen dabei auch Einflüsse anderer Musik in sich auf. So erscheinen z.B. Anklänge an Cherubinis Medée, oder Jazz- und Blues-artige Elemente.

Instrumental Duet Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.890701 Composed by John Pitts. Baroque,Contemporary. Score and parts. 36 pages. Intensely Pleasant Music #3424663. Published by Intensely Pleasant Music (A0.890701). Passacaglia (2000-2012) duet 6 minutes This piece also exists in versions for organ (my original version in 2000) and orchestra (performed by Bristol University Symphony Orchestra under the baton of John Pickard in 2001). The piano duet version was finally completed in 2012.  The theme is based on the ground bass from Bach’s stonking Passacaglia in C minor for organ. However, the implied harmonies of Bach’s original ground bass are treated to some twisted harmonies – where each chord is altered using a system of harmonic substitution - swapping each chord implication for a newly chosen one (Cm=C, Fm=F#, G=A, Dm=A¨, Eb=F and on it goes around the 12 chromatic notes).  Each key therefore has a ‘dominant’ and ‘subdominant’ that are not the actual chords V and IV in that key, so the traditional cadences and chord relationships are supplanted by 12 individual 3-chord relationships – one set of three chords for each of the 12 (now almost exclusively major) keys. In an attempt to recreate the pulls of the traditional tonic-dominant-subdominant relationships, each key then also has a particular mode/scale with particular added notes that are designed to recreate the sense of moving away from and back towards the home chord of that key. This results in a lot of rich added harmonies and some idiomatic voice-leading. Bach’s original theme in Cm is: C G - E¨ F - G A¨  - F G - D E¨ - B C -   F G   - C, and in the opening statement of the ground bass this has become: C A - E F# - A B¨ - F# A - D# E - C# C - F# A - C. There are then 21 variations which modulate through a range of keys, during which the ground bass is constantly re-adjusted to fit the new harmonic areas. It starts in C major, then goes through ‘closely’ related keys (eg A major and A¨ major), and then back to C in variations 6, 9 and 11. This kind of arch then happens again but going through more distant keys before returning to C in variations 18, 19 and the final climactic variation 21. Leaving aside the structural and tonal nuts and bolts, my aim was to compose a piece that attempts to recapture some of the nobility and beauty of Bach's Passacaglia, with rich added note harmonies, and exuding an exuberant joy.

Organ - Level 5 - Digital Download SKU: A0.890713 Composed by John Pitts. Baroque,Christian,Contemporary,Sacred. Score. 20 pages. Intensely Pleasant Music #3424723. Published by Intensely Pleasant Music (A0.890713). Passacaglia (2000-2012) for Organ - 6 minutes  This piece exists in versions for organ (this one - the original version in 2000) and orchestra (performed by Bristol University Symphony Orchestra under the baton of John Pickard in 2001), and finally a piano duet version completed in 2012.   The theme is based on the ground bass from Bach’s stonking Passacaglia in C minor for organ. However, the implied harmonies of Bach’s original ground bass are treated to some twisted harmonies – where each chord is altered using a system of harmonic substitution - swapping each chord implication for a newly chosen one (Cm=C, Fm=F#, G=A, Dm=A¨, Eb=F and on it goes around the 12 chromatic notes).  Each key therefore has a ‘dominant’ and ‘subdominant’ that are not the actual chords V and IV in that key, so the traditional cadences and chord relationships are supplanted by 12 individual 3-chord relationships – one set of three chords for each of the 12 (now almost exclusively major) keys. In an attempt to recreate the pulls of the traditional tonic-dominant-subdominant relationships, each key then also has a particular mode/scale with particular added notes that are designed to recreate the sense of moving away from and back towards the home chord of that key. This results in a lot of rich added harmonies and some idiomatic voice-leading. Bach’s original theme in Cm is: C G - E¨ F - G A¨  - F G - D E¨ - B C -   F G   - C, and in the opening statement of the ground bass this has become: C A - E F# - A B¨ - F# A - D# E - C# C - F# A - C. There are then 21 variations which modulate through a range of keys, during which the ground bass is constantly re-adjusted to fit the new harmonic areas. It starts in C major, then goes through ‘closely’ related keys (eg A major and A¨ major), and then back to C in variations 6, 9 and 11. This kind of arch then happens again but going through more distant keys before returning to C in variations 18, 19 and the final climactic variation 21. Leaving aside the structural and tonal nuts and bolts, my aim was to compose a piece that attempts to recapture some of the nobility and beauty of Bach's Passacaglia, with rich added note harmonies, and exuding an exuberant joy.

Drum Set,Drums - Level 3 - Digital Download SKU: A0.1472262 Composed by Béla Ugró. Blues,Classical,Jazz,Multicultural,Standards,World. Score. 89 pages. Bela Ugro #1049964. Published by Bela Ugro (A0.1472262). Discover the comprehensive guide to mastering the drumset with Playing Drumset - Playing Drums at the Music School. This 89-page document is meticulously designed to provide an in-depth learning experience for aspiring drummers at the music school level. Authored by the talented Béla Ugró, this music sheet includes a diverse range of exercises, solos, and patterns that cater to various musical genres and techniques.**Content:****I. Chapter**- **1. Part:** Exercises Préparatoires**II. Chapter**- **1. Part:** Exercises Préparatoires (Eighth)- Solo 1 (Beats – Pop – Rock)- **2. Part:** Exercises Préparatoires (12/8)- **3. Part:** Exercises Préparatoires (Hi-Hat open – close)- Solo 2 (12/8)- Solo 3 (Rock solo)**III. Chapter**- **1. Part:** Exercises Préparatoires (Triola)- **2. Part:** Shuffle Patterns 5- **3. Part:** Jazz (Swing Patterns 7)- **4. Part:** Jazz music genres (Bebop Patterns 9)**IV. Chapter**- **1. Part:** Latin – American – Music (Brazilian Music)- **2. Part:** Caribbean Music**V. Chapter**- **1. Part:** Exercises Préparatoires (Sixteenths)- **2. Part:** Rock/Funk Patterns 13- **3. Part:** Permutation Study- **4. Part:** Exercises Préparatoires (6/8 – 12/8)- **5. Part:** Sixteen Variations (Rock Patterns 16)- **6. Part:** Sixteen Variations (6/8 – 12/8)**VI. Chapter**- **1. Part:** Exercises Préparatoires (Dotted Eighth and Sixteenth Notes)**VII. Chapter**- **1/A:** Rudiments – 4/4 Playing- **1/B:** Rudiments – 6/8 Playing- **2/A:** Rudiments – 4/4 Playing- **2/B:** Rudiments – 6/8 Playing- **3/A:** Rudiments – 4/4 Playing- **3/B:** Rudiments – 6/8 Playing- **4/A:** Rudiments – 4/4 Playing- **4/B:** Rudiments – 6/8 Playing- 40 International Drum Rudiments**Keywords:**- Drumset exercises- Music school drumming- Béla Ugró- Drumset solos- Percussion techniques- Drum patterns- Latin-American music- Jazz drumming- Rock/Funk drumming- Drum rudiments.

String Quartet String Quartet - Level 5 - Digital Download SKU: A0.970731 Composed by Mike Strand. Contemporary,Jazz,World. Score and parts. 36 pages. Michael M. Strand #4837117. Published by Michael M. Strand (A0.970731). By Mike Strand, ASCAP I wrote this String Quartet in a composition class at the College of William and Mary in 2010.  It is brief and rich with variety, and it involves a technique of mine called fracturing (see note* below).  This causes the dissonance you'll hear in parts of this work.On one occasion, when I felt stressed, I enjoyed listening to Morton Feldman's String Quartet II (1983), which lasts about 6 hours.  This quiet but lovely music soothed and pacified me.  On the other hand, if you want something to energize and alert you in less than 11 minutes, this quartet may be for you --  whenever you acquire a recording of it by some lucky quartet ensemble.  Have a cup of coffee with it, for insurance!In the meantime, enjoy the audio sample, Movement I of my quartet.  This alone may suffice to get you going, in only two and a half minutes. String Quartet - William and Mary:   Four movements, total time 10:45: I. Allegro moderato (2:32) A tango-like dance movement: Preface, Introduction, A, B, A’, C, Coda (two variations). II. Lento (2:44) Counting to twenty in 5-4, 4-4, and 12-8 time. 5-4 time predominates (five groups of four measures each), then 4-4 (two groups of five measures each) and 12-8 (one group of five measures). Throughout there are 72 counts per minute, with quarter notes counted in the 5-4 and 4-4 time signatures, and with dotted quarter notes counted in the 12-8 time signature. The five measures of 12-8 also introduce the theme for movement III.Fun with three different time signatures! III. Allegro (2:11) Variations on a Scottish-like folk tune and fragments of it. One variation is an example of tonal pointillism. The closing measures are an extended coda based on a transformed version of the original tune. IV. Swing (3:18) West Coast swing tempo for the Introduction and Part A; triple swing tempo for Part B.  Note* on the fracturing technique This is my method to produce systematically new types of dissonance and corresponding modifications and resolutions. Fracturing consists of changing pitches in a melody or chord as follows: (a) Decide on the root note position within the staff or line of music. (b) Represent the applicable chord in half-step notation, with the root given the value 0. (c) Alternatively subtract and add a prescribed number of half steps from, and to, each successive number in the annotated chord (except for the root). (d) Use the new fractured annotation to define the new pitches. The actual or implied root of the chord (tonal center) remains unchanged. The resulting new chord or melody is thus related or resolvable to the parent tonal harmony or chord. Fracturing appears mainly in the first and third movements, with spare use in the second and fourth movements.

Bassoon,Piano - Level 2 - Digital Download SKU: A0.1316530 Composed by Angela Salvaggione. Baroque,Contest,Festival,Instructional. Score and part. 7 pages. Angela Salvaggione #905263. Published by Angela Salvaggione (A0.1316530). This piece is based on a ground, or ostinato. That means it has a repeating pattern, in this case, eight bars. La Folia is a ground that’s been used by many composers over the centuries, including Corelli (Violin Sonata Op. 5, no. 12) and Vivaldi (Trio Sonata, Op. 1 no. 12), and more recently, Rachmaninoff (Variations on a Theme of Corelli) and Manuel Ponce (Variations sur Folia de España et fugue), and more recently still, Glen Shannon’s La Follia Variations for recorder ensemble. Many of these pieces are quite long to listen to, but are written for a variety of instruments and a variety of styles. Perhaps it will inspire you to try and write a variation yourself. You can have your teacher play the ground and you play your variation at the same time to see if you like how it sounds together. Warning! DO NOT start this piece too fast! The opening theme is very easy, but after every eight bars, each variation becomes more difficult as you Level Up through the piece. Keep everything under control, and think of ways you can make each variation sound different – experiment with your dynamics and articulations. Time: ca. 2:15Key: D minorRange: E2-Bb3With large leaps and running scalar sixteenth note passages, this piece is appropriate for a second year student.Once the student has purchased this piece, an adjudicator’s copy may be made. Teachers may purchase individual copies for each student’s use. Studio licensing is not available.

Piano Solo - Level 4 - Digital Download SKU: A0.1012016 Composed by Benjamin Amos. Contemporary. Score. 8 pages. Benjamin Amos #3531933. Published by Benjamin Amos (A0.1012016). Springtime is a bright and optimistic piece that makes me smile every time I play it. Written in a very loosely defined A-B-A form, Springtime has a beautiful reoccurring theme of gratefulness which F# Major sings out to its fullest. A great piece for performance and for fun! With very few accidentals, the music score is challenging but mostly straight forward within the time signature: the biggest challenges are mainly overcoming the key of F# Major and the occasional variations in time signature. Springtime is 8 pages and about 3 minutes played up to tempo. A few additional musical theory notes to mention: Springtime is written in 6/8 (and 4/4 during the B section) for most of the piece; however, rhythmical variations in beat also occur throughout the piece which add neat additional layers-- specifically, time signatures 10/8 (grouped 123 123 12 12 etc.) and 8/8 (grouped 123 123 12 etc.).

Double Bass,String Bass Solo - Digital Download SKU: A0.1347908 Composed by Alan Edgar. 21st Century. Individual part. 10 pages. Alan Edgar Ted Moon #932722. Published by Alan Edgar Ted Moon (A0.1347908). Jacques Cousteau, Father of the Aqualung, wrote: The sea, once it casts its spell, holds one in its net of wonder for ever.This piece, for virtuoso double bass, imagines a scuba-diver encountering large animals, and consists of a suite of short depictions of animals in the form of variations on a melody plus a recurrent new melody representing the diver's smooth movements and bubbles. The variations are: Lobster Jazz Waltz, Sea-anemone Belly-dance, Tuna Tune, Luminous Light Show, Dolphin Fling, Jaws Serial and Blues Whale Pavane.The piece lasts about eight minutes with repeats.TECHNICAL NOTE The C harmonics will be a pip flat--they are only bursting bubbles anyway!Scuba Fins tries to feel the quiet calmness and agelessness of the underwater world, using the ancient and universal major pentatonic scale C,D,E, G,A ,C. The rhythm is mostly steady and simple, but triplets indicate the occasional extra effort. Now and again, he glances down at the infinite depths. Tintinnabulation and soft staccatissimo arpeggios represent the bubbles. Lobster Waltz is a jazz waltz with many staccato notes and leaps representing the many appendages and the tangle of lively giant crustaceans.Sea-anemone Belly-Dance pictures the soft body and tentacles swaying under the waves, using the Arabic scale Shad 'Araban, roughly G,Ab, B,C,D,Eb,F#,G and influenced by a dance to the folk tune known as Bint El-Salabiya.Tuna Tune is a quick moto perpetuo in the cheerful major mode, septuple time, the rapid rise and fall of the phrases and of volume reflecting the powerful shoal's unpredictable, ceaseless movements, approaching and retreating.Dolphin Fling is a stathspey, or highland fling, using the major mode and typical dance rhythms including the Scotch snap to depict the weighty but intelligent dolphins enjoying their leisure time and perhaps dancing with the diver.Jaws Serial reminds us of the fear a shark generates, using the dissonant 12-note serial mode and unpredictable leaps and pauses. The opening slow trill will chill you as it invokes the Jaws film theme by John Williams. You might even hear the diver's heart sink and the snap pizzicato of the teeth snapping. The prime row is the nearest possible to the original theme: Bb, Ab, F, Eb, B, C, E, G, Db, D, Gb.A, but I have followed the contours of the main themes. Blues Whale is a pavane, a slow, stately processional incorporating the typical renaissance drum rhythm. and using a blues scale, G, A, Bb, C, C#, D, F, G, and an implied 12-bar minor blues harmony.