Large Ensemble Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Harpsichord,Horn,Marimba,Organ,Piano,Trombone,Tuba - Digital Download SKU: A0.931833 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 124 pages. Dots and Beams #4269061. Published by Dots and Beams (A0.931833). Dots and Beams creates a wide variety of reading materials for musicians at all skill levels and for all instruments. The goal of Dots and Beams is to break music down into its elements and provide reading material focused on systematically developing each element in isolation. These books can be used in any number of ways and are an invaluable tool for creative musicians who enjoy inventing new exercises. In addition, these books make excellent, thoughtfully graduated sight-reading material for a wide range of ability levels from student to professional. This collection presents its user with a series of notes on a bass staff in the context of increasingly complex rhythmic material. The pitch material in this book is entirely diatonic with a space left at the beginning of each system in which one can write a key signature. Early chapters use only notes on the staff while subsequent chapters begin to add notes on ledger lines above and below the staff. Each chapter contains two exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. From chapter to chapter the conceptual difficulty of the rhythmic material increases. The exercises in this collection are intentionally aimless, wandering, and difficult to internalize. They resemble standard melodies on the surface but don’t emphasize any particular tonal centre or harmonic movement. They are designed this way for several reasons. In keeping the melodic material as non-specific as possible the door is left open for the materials to be used in conjunction with any number of exercises, something that would be much more difficult with a composition that dictates the harmonic, melodic, and rhythmic phrasing. It also allows the user to read the exercises in any key signature, making this a great tool to help students learn to think in different keys. The unpredictability of these exercises also forces the user to process every note and rhythm as its own event without relying on pattern recognition or melodic and harmonic tendencies to help in figuring out the notes and rhythms. While I absolutely agree that the skill of predicting music’s direction from harmonic and melodic cues is an essential skill for any musician to develop, I think we will all agree that resources for this type of reading practice are already abundant. This collection, on the other hand, is designed to develop the user’s ability to process raw musical data. Once this skill is strengthened and internalized it is my belief that the act of reading more predictable and typically melodic music will be made much easier as the processing of notes and rhythms will be second nature, allowing the musician to focus on musicality. This book is a supplement to practising sight-reading using real music, not a replacement; I encourage you to use both. If this material is being used to practice sight-reading, it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Some suggestions for how to use this book include: Read each exercise in all 15 key signatures from 7 flats to 7 sharps. Practice key changes by writing in a different key signature for each system. Increase the challenge of the previous exercise by using a metronome on weak beats. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second e.

Piano,Vocal,Voice - Digital Download SKU: A0.1182309 Composed by Julián De La Chica. Classical,Opera,Spiritual. Score. 56 pages. Vagabundo Music Publishing #782045. Published by Vagabundo Music Publishing (A0.1182309). MUSIC NOTES:How does Julián De La Chica materialize the question of “being� in sound? Through text and music as sound material: the choice of the German tongue as a philosophic language; in its sonority, the reference to the tradition of Lieder, a form where word and sound construct a system of meanings in search of the essential. Materializing it through sound, the works achieve this “concentration� of the essential, guided by the question of the “being.� But, how do they achieve it? Long phrases, almost Gregorian rhythmicity, recuperate the capacity for enunciation born of medieval liturgical chant and Buddhist mantras. The concentration of power in the invoked words – to enunciate is to make real what is invoked. The essence is enunciated in the concept, in the construction of the enunciations that constitute the exoskeleton of these songs. The sound materializes the concept; it is sound that creates reality. The sound is in the center of the congealed hurricane. A person that asks the question of “being�, stops time. Their presence is now; only the now exists. That instant is nonetheless a whirlwind that in the meditative act stops in front of the asking person and contemplates their mortal state, unappealable: the state of mortality as illumination. — Susan Campos-Fonseca.

Brass Ensemble - Digital Download SKU: A0.1024971 Composed by Simon M. Sperl. Contemporary. Score and parts. 28 pages. Sperl Publishing #3912935. Published by Sperl Publishing (A0.1024971). This piece, Fables, Fiction and Folklore, is built on a mode and musical figure that can be transposed by a tritone while maintaining every note in the scale.  In other words, whether it’s played in G or C#, the exact same notes are used.  This mirroring of the musical figure is meant to symbolize how we see ourselves.  We look in the mirror and see something that may look like us but is, in fact, as far away from reality as possible. We look past all the good and beautiful things in ourselves and our worlds while only seeing our faults and blemishes. On the other hand, when we look at others, we see idealized versions.  We think about them as if they are fictionalized characters in a story.  Let’s focus on the positive when we look at ourselves and our lives and forgive the imperfections.  We’re the heroes of our personal folktale.

Instrumental Duet Instrumental Duet,Medium Voice,Piano - Level 4 - Digital Download SKU: A0.837494 Composed by Brett L. Wery. Concert,Contemporary,Rock. Score and parts. 13 pages. Sonata Grendel Publishing #5731611. Published by Sonata Grendel Publishing (A0.837494). Letters From Cohoes was originally conceived for Baritone, flute, harp and string Quartet. The first movement is set in Eva Tanguay’s voice and works well dramatically for mezzo-soprano. Eva Tanguay (1879-1947) was born in Canada and billed herself as the girl who made vaudeville famous. She was known for her suggestive songs and extravagant costumes. She has been likened to Madonna or Lady Gaga. Her one recording was I Don’t Care in 1922. Her parents moved to Holyoke, Massachusetts in the 1880’s and she began her career as a teenager at the Cohoes Music Hall. At the age of nineteen she made her debut in New York City. Tanguay was the highest paid woman of her day but was said to have lost more than two million dollars in the Wall Street crash of 1929. Tanguay had a reputation for outlandish behavior and was once fined $50 in Louisville, Kentucky for throwing a stagehand down a flight of stairs. She died, blind and nearly destitute, at the age of 68 in Hollywood. In 1953 Mitzi Gaynor portrayed Eva Tanguay in a fictionalized version of her life in the motion picture, The I Don’t Care Girl. Her ghost is said to still haunt Cohoes Music Hall in upstate New York. Letters from Cohoes is a highly fictionalized, musical portrayal of Eva Tanguay’s ghost. In its original form it was scored for flute (doubling on alto flute, contrabass flute and piccolo), harp, string quartet and solo baritone. It is in four movements, taking the form of letters. Letter 2. May 1974, a Greyhound Bus (duration – 4:08)                  The Majik Bus to Cohoes  A young stage manager takes a long bus ride to a new job in Cohoes, NY only to be visited in a dream by the ghost of Eva.            There was a girl with wild eyes glaring from the house.            She looked so wounded!

Small Ensemble Cello,Clarinet,Piano,Violin - Level 4 - Digital Download SKU: A0.755023 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 94 pages. Sy Brandon #3244205. Published by Sy Brandon (A0.755023). Legacy is a three movement composition that makes social commentary on the issue of global warming. It was commission and premiered by the Washington Sinfonietta, Rufus Jones, conductor, and later transcribed by the composer for quartet for the chamber music group, enhaké. I. Conflicts - This movement begins with a cry from native cultures admonishing our neglect of the environment. The cry is interspersed with debate regarding the seriousness of global warming. The debate grows stronger as the cries grow weaker. The debate is quieted by a measure of repeated chords that could be the words, stop it! stop it now!. A weak cry in the clarinet brings the introduction to a close. An Allegro section follows with a rhythmic and primitive sounding section representing the underdeveloped nations that are destroying the rain forests for economic gain. This material evolves into a more harmonic and contrapuntal section representing industrialized nations reluctant to change, also for economic reasons. Things quiet down as the music takes the listener to another part of the globe, East Asia. Conflict is again present in this section. The music returns to a varied restatement of the industrialized nations music before traveling to India for a section influenced by Raga. This section builds in dissonance until we hear the repeated stop it now chords from the introduction. A brief reprise of the cries bring the movement to a close. II. Consequences - This movement evokes a somber mood that is reflective of living in a climate of extremes. The movement is in arch form as it begins and ends with open harmony reflective of barren lands that once were fertile. The middle section serves as a climax expressive the harshness of the climate. Colleen McCollough’s book, A Creed for the Third Millennium was a source of inspiration for this movement. III. Sacrifice and Compromise - The movement begins with a strong section that suggests progress. It is followed by a quieter and intense section that alternates lyrical lines over a staccato ostinato that creates a sense of urgency. The opening section returns and is followed by a development of the ostinato section. This section is symbolic of how ideas need to be adapted in order for progress to be made. The opening section returns once more before leading into the concluding section where there is coming together of the instruments on a long lyrical line representing more and more people working together for change. The movement ends with a sense of triumph over adversity. Legacy has been recorded by enhaké on the Emeritus Recordings CD Legacy.

Baritone Horn TC,Vocal Solo,Voice - Level 4 - Digital Download SKU: A0.837497 Composed by Brett L. Wery. Concert,Contemporary. 7 pages. Sonata Grendel Publishing #5770249. Published by Sonata Grendel Publishing (A0.837497). Letters From Cohoes was originally conceived for Baritone, flute, harp and string Quartet. The first movement is set in Eva Tanguay’s voice and works well dramatically for mezzo-soprano. Eva Tanguay (1879-1947) was born in Canada and billed herself as the girl who made vaudeville famous. She was known for her suggestive songs and extravagant costumes. She has been likened to Madonna or Lady Gaga. Her one recording was I Don’t Care in 1922. Her parents moved to Holyoke, Massachusetts in the 1880’s and she began her career as a teenager at the Cohoes Music Hall. At the age of nineteen she made her debut in New York City. Tanguay was the highest paid woman of her day but was said to have lost more than two million dollars in the Wall Street crash of 1929. Tanguay had a reputation for outlandish behavior and was once fined $50 in Louisville, Kentucky for throwing a stagehand down a flight of stairs. She died, blind and nearly destitute, at the age of 68 in Hollywood. In 1953 Mitzi Gaynor portrayed Eva Tanguay in a fictionalized version of her life in the motion picture, The I Don’t Care Girl. Her ghost is said to still haunt Cohoes Music Hall in upstate New York. Letters from Cohoes is a highly fictionalized, musical portrayal of Eva Tanguay’s ghost. In its original form it was scored for flute (doubling on alto flute, contrabass flute and piccolo), harp, string quartet and solo baritone. It is in four movements, taking the form of letters. Letter 3. June 1974, Cohoes (duration – 2:15)                 Wish List Fundraising The new stage manager writes a letter to the producers asking for funds to equip the shop. All I need is some money for a hammer and nails, some duct tape, and a circular saw. That's all I need, and a C clamp, maybe two.

Concert Band - Level 3 - Digital Download SKU: A0.549996 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. Romantic Period,Standards. 118 pages. Jmsgu3 #4366268. Published by jmsgu3 (A0.549996). Full-length arrangement for Concert Band. Instrumentation: 2 flutes, 1 oboe, 2 Bb clarinets, 1 bass clarinet, 2 alto saxes, 1 tenor sax, 1 baritone sax, 2 Bb trumpets, 2 horns in F, 2 tenor trombones, 1 tuba. Melodic percussion: xylophone (or marimba) chimes (or tubular bells). Percussion 1: snare drum, crash cymbals, gong. Percussion 2: bass drum, crash cymbals, gong.The significance of Saint-Saëns' Danse Macabre lies in its representation of death as the great social equalizer and its association with Halloween and the macabre. Originally an art song for voice and piano, the piece was later expanded and reworked into a tone poem for violin and large orchestra, becoming one of Saint-Saëns' most famous works.Representation of Death: Danse Macabre was inspired by the French legend that Death plays the fiddle at midnight on Halloween, causing the skeletons in the cemetery to crawl out of their graves for a dance party. The theme of death as the great social equalizer, where no one can escape the dance with death, is depicted in the music and has inspired various paintings and art pieces.Composition and Reception: The piece is in the key of G minor and scored for an obbligato violin and an orchestra of various instruments.  When it was first performed in 1875, Danse Macabre received mixed reviews, with some critics expressing anxiety due to its dissonance, use of a xylophone, and hypnotic repetitions. However, it is now considered one of Saint-Saëns' masterpieces and is widely regarded and reproduced in high and popular culture.

String Quintet Cello,Double Bass,Viola,Violin - Level 2 - Digital Download SKU: A0.1282836 By The Secret Garden Ensemble. By Lucy Simon and Marsha Norman. Arranged by Alberto Caeiro. Broadway,Musical/Show,New Age,Opera,Singer/Songwriter. 14 pages. Alberto Caeiro #874079. Published by Alberto Caeiro (A0.1282836). This arrangement is made for String Quintet, in the original key containing the original form of the musical. It's an easy arrangement that can be performed in different events and performances, having a solo voice. With 2 violins, 1 viola and 1 cello, the arrangement would be too light so, adding the double bass, the arrangement becomes more interesting with more color.The Secret Garden is a musical based on the 1911 novel of the same name by Frances Hodgson Burnett. The musical's script and lyrics are by Marsha Norman, with music by Lucy Simon. It premiered on Broadway in 1991 and ran for 709 performances. The story is set in the early years of the 20th century.The Girl I mean to be is a powerful and inspirational song about self-discovery and empowerment. The song is a ballad about a young woman struggling to find her place in the world. She constantly feels judged and compared to others, and she's tired of feeling like she's not good enough.However, the song's protagonist eventually realizes that she is the only one who can define who she is. She sings, I'm the only one who knows what I want to be. She realizes that she doesn't need to change herself to please others. She is perfect the way she is.The song ends with the protagonist declaring that she is going to be the girl she wants to be. She sings, I'm gonna be the girl I wanna be, no matter what they say. She is determined to be herself, no matter what others think.

Easy Piano - Level 2 - Digital Download SKU: A0.1092449 Composed by Joseph Mohr. Arranged by Rafaella A. Fonseca. Broadway,Children,Christmas,Film/TV,Musical/Show,Traditional. Score. 1 pages. RF notes #696541. Published by RF notes (A0.1092449). Easy piano tutorial easy intermediate piano tutorial, silent night, silent night holy night, silent night piano, silent night song, silent night instrumental silent night christmas piano cover, silent night piano cover, silent night piano, piano silent night, rousseau silent night cover, kassia silken silent night rousseau cover, rousseau,rousseau christmas, christmas piano cover, christmas song cover, holiday piano cover, rousseau christmas cover, rousseau christmas piano, piano christmas cover, piano christmas, holiday piano, piano cover, piano cover song, reactive visualizer, yJ3rAIrLw8, piano visualizer, christmas piano playlist silent night song, silent night holy night, holy night,song silent night, carol silent night, silent night carol, silent night piano, silent night (live), night silent song, o silent night lyrics, silent night quartet, silent night karaoke.

Chamber Orchestra - Level 5 - Digital Download SKU: A0.1453498 Composed by Sy Brandon. 21st Century,Contest,Festival. 235 pages. Sy Brandon #1032727. Published by Sy Brandon (A0.1453498). Legacy is a three-movement composition for chamber orchestra that makes social commentary on the issue of global warming. It was commission in 2007 by the Washington Sinfonietta, Rufus Jones, conductor and rewritten for chamber orchestra in 2023. I. Conflicts - This movement begins with a cry from native cultures admonishing our neglect of the environment. The cry is interspersed with debate regarding the seriousness of global warming (woodwinds). The debate grows stronger as the cries grow weaker. The debate isquieted by a measure of repeated chords that could be the words, stop it! stop it now!” A weak cry in the English Horn brings the introduction to a close. An Allegro section follows with a rhythmic and primitive sounding section representing the underdeveloped nations that are destroying the rain forests for economic gain. This material evolves into a more harmonic and contrapuntal section representing industrialized nations reluctant to change, also for economic reasons. Things quiet down as the music takes the listener to another part of the globe, East Asia. Conflict is again present in this section. The music returns to a varied restatement of the industrialized nations music before traveling to India for a section influenced by Raga. This section builds in dissonance until we hear the repeated stop it now chords from the introduction. A brief reprise of the cries brings the movement to a close. II. Consequences - This movement evokes a somber mood that is reflective of living in a climate of extremes. The movement is in arch form as it begins and ends with open harmony reflective of barren lands that once were fertile. The middle section serves as a climax expressing the harshness of the climate. Colleen McCullough's book, A Creed for the Third Millennium was a source of inspiration for this movement. III. Sacrifice and Compromise - The movement begins with a strong section that suggests progress. It is followed by a quieter and intense section that alternates lyrical lines over a staccato ostinato creating a sense of urgency. The opening section returns and is followed by a development of the ostinato section. This section is symbolic of how ideas need to be adapted in order for progress to be made. The opening section returns once more before leading into the concluding section where there is coming together of the instruments on a long lyrical line representing more and more people working together for change. The movement ends with a sense of triumph over adversity. Score prints on legal size paper and parts on letter.

Piano Solo - Digital Download SKU: A0.933358 Composed by Kyle Robert Balitz. Classical,Contemporary,Romantic Period,Spiritual. Score. 4 pages. Kyle Balitz #54899. Published by Kyle Balitz (A0.933358). Grassy Hills Under the Starlight Sky v 2 DISCOGRAPHY: 2uo7rax releases two albums: 1.) The Rule to 2.u0 and 2.) Brother 2u.0. And the third album: 3.) Spiri7rax is still in progress. 2uo8eats first album: 1.) Heavy Rain is still in progress. REALGroupStation's first album 1.) Servitude is available. LINKS: 2uo7rax Download 2uo7rax's FREE Instrumental Albums Here: http://2uo7rax.bandcamp.com http://www.reverbnation.com/2uo7rax 2uo7rax's YouTube Channel: http://www.youtube.com/2uo7rax 2uo7rax's Social Links: http://www.facebook.com/2uo7rax http://www.twitter.com/2uo7rax 2uo8eats Download 2uo8eat's FREE Beat Albums Here: http://2uo8eats.bandcamp.com http://www.reverbnation.com/2uo8eats 2uo8eat's YouTube Channel: http://www.youtube.com/2uo8eats 2uo8eat's Social Links: http://www.facebook.com/2uo8eats http://www.twitter.com/2uo8eats REALGroupStation Download REALGroupStation's FREE Vocal Albums Here: http://REALGroupStation.bandcamp.com http://www.reverbnation.com/REALGroupStation REALGroupStation's YouTube Channel: http://www.youtube.com/REALGroupStation REALGroupStation's Social Links: http://www.facebook.com/REALGroupStation http://www.twitter.com/REALGroupS BIOGRAPHY: 2uo7rax is an orchestral/piano/instrumental music production company founded by Travis Balitz & Kyle Balitz. 2uo7rax is also an affiliate with 2uo8eats, which specialize in high quality beats. 2uo8eats is a beat production company founded by Travis Balitz & Kyle Balitz. 2uo8eats is also an affiliate with 2uo7rax, which specialize in high quality instrumentals. REALGroupStation is a vocal music production company funded by TraVisT & KyoTicK. WARNING: It is recognized that various programs may be used to copy, and distribute music from 2uo7rax without a given consent. 2uo7rax is well aware of this and would appreciate and restrict any use of copyright infringement. There is no set date on an album release, however, please subscribe and add 2uo7rax as a contact so you may be notified in the near future. Thank you for the support. RECORD INFORMATION: Producer: 2uo7rax If you are interested in orchestral scores, instrumentals, piano compositions, sound engineering and or sound production services, feel free to leave a message via YouTube or email. To request rates, terms, conditions, and to discuss business/freelancing opportunities, please contact us by email at 2uo7rax (at) Gmail [dot] com. *Only serious, business-related inquiries will be read and answered. Please replace the space and brackets with an @. This has been done to avoid spam. Copyright © 2015 2uo7rax. All Rights Reserved. Creative Directors: TraVisT (Travis Balitz) & KyoTicK (Kyle Balitz) Our YouTube Affiliate Links: http://www.youtube.com/2uo7rax http://www.youtube.com/2uo8eats http://www.youtube.com/TheArtworkAddicts http://www.youtube.com/TheAirbrushAddicts http://www.youtube.com/RabbitatHabbitat http://www.youtube.com/MaintaincServices http://www.youtube.com/REALGroupStation http://www.youtube.com/ManHoPark http://www.youtube.com/CheonHoPark http://www.youtube.com/TraVisTRecords http://www.youtube.com/KyoTicKRecords http://www.youtube.com/TheAZNjoKeRhaha Copyright © 2015 Revival Entertainment Association Legacy Group. All Rights Reserved.

Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,Harpsichord,Marimba,Oboe,Organ,Piano,Soprano Saxophone,Tenor Saxophone,Treble Clef Instrument,Trumpet,Ukulele,Vibraphone,Violin,Xylophone - Level 4 - Digital Download SKU: A0.931832 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 124 pages. Dots and Beams #4269045. Published by Dots and Beams (A0.931832). Dots and Beams creates a wide variety of reading materials for musicians at all skill levels and for all instruments. The goal of Dots and Beams is to break music down into its elements and provide reading material focused on systematically developing each element in isolation. These books can be used in any number of ways and are an invaluable tool for creative musicians who enjoy inventing new exercises. In addition, these books make excellent, thoughtfully graduated sight-reading material for a wide range of ability levels from student to professional. This collection presents its user with a series of notes on a treble staff in the context of increasingly complex rhythmic material. The pitch material in this book is entirely diatonic with a space left at the beginning of each system in which one can write a key signature. Early chapters use only notes on the staff while subsequent chapters begin to add notes on ledger lines above and below the staff. Each chapter contains two exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. From chapter to chapter the conceptual difficulty of the rhythmic material increases. The exercises in this collection are intentionally aimless, wandering, and difficult to internalize. They resemble standard melodies on the surface but don’t emphasize any particular tonal centre or harmonic movement. They are designed this way for several reasons. In keeping the melodic material as non-specific as possible the door is left open for the materials to be used in conjunction with any number of exercises, something that would be much more difficult with a composition that dictates the harmonic, melodic, and rhythmic phrasing. It also allows the user to read the exercises in any key signature, making this a great tool to help students learn to think in different keys. The unpredictability of these exercises also forces the user to process every note and rhythm as its own event without relying on pattern recognition or melodic and harmonic tendencies to help in figuring out the notes and rhythms. While I absolutely agree that the skill of predicting music’s direction from harmonic and melodic cues is an essential skill for any musician to develop, I think we will all agree that resources for this type of reading practice are already abundant. This collection, on the other hand, is designed to develop the user’s ability to process raw musical data. Once this skill is strengthened and internalized it is my belief that the act of reading more predictable and typically melodic music will be made much easier as the processing of notes and rhythms will be second nature, allowing the musician to focus on musicality. This book is a supplement to practising sight-reading using real music, not a replacement; I encourage you to use both. If this material is being used to practice sight-reading, it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Some suggestions for how to use this book include: Read each exercise in all 15 key signatures from 7 flats to 7 sharps. Practice key changes by writing in a different key signature for each system. Increase the challenge of the previous exercise by using a metronome on weak beats. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4. Be creative with this one, the possib.

Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.940459 By Billy Joel. By Billy Joel. Arranged by Bob Eggers. Pop,Rock. Octavo. 11 pages. ROBERT J EGGERS #5306567. Published by ROBERT J EGGERS (A0.940459). A Billy Joel hit song from 1985, the lyrics tell the story of a man whose priorities are shifting away from his musical career and towards marriage and family - and works as a love song from a career driven man who realizes what is really important in his life. The arrangement begins with the tenor soloist considering his life, doubling with a bass soloist and creating a haunting sound that draws in your audience. Then, as the soloist arrives at his realization, the tenor line soars as he realizes he still has time to get it right - a very inspirational and an affirmative message.Orchestration: Tenor solo + Bass duet + TTBBb + Hand claps. Level of difficulty: moderate. Duration: 2:40Learning Tracks available for all voice parts. Contact me for details: reggersusa@yahoo.com

Woodwind Ensemble,Woodwind Quintet Alto Flute,Bass Flute,Piccolo - Level 3 - Digital Download SKU: A0.956968 By Queen. By Freddie Mercury and Frederick Mercury. Arranged by Ander. Film/TV. 27 pages. Woods Only, Arrangements #6665283. Published by Woods Only, Arrangements (A0.956968). Iconic song by the band Queen, and eternalized in the voice of the late Freddie Mercury in a version for instrumental quintet, being faithful to the original version, this arrangement brings to the performer and spectator a musical and nostalgic tone in relation to the hit of the 70s. Indicated for musicians who already have a good practice in the instrument, and can be played in public events, recitals or concerts.