Brass Ensemble - Level 4 - Digital Download SKU: A0.767193 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. 24 pages. Lyons Music Services #3074151. Published by Lyons Music Services (A0.767193). Monteverdi's third book of madrigals of 1592 is one of the earliest steps towards the writing of opera as we know it. In this collection of songs, Monteverdi, for the first time, starts to bring small groups of songs (2 or 3) to form a 'Scena - a collection with similar words or on a similar theme or by the same poet and keeping them as a little group within the book of madrigals. The sixth song, O Nightingale is a song expressing the lover's feelings about the song of teh nightingale.As with all of Monteverdi's vocal music, it translates really well onto instruments. The individual madrigals are available separately. This flexible arrangement is equally playable on woodwind ensembles as on brass.Flexible quintet parts are supplied as follows:Part 1 in Bb,Part 2 in Bb, Part 3 in Bb/Eb/F, Part 4 in Bb/Eb/C(Bass clef) and Part 5 in Bb/Eb/C(Bass clef)Other parts may be requested free of charge.

Brass Ensemble - Level 4 - Digital Download SKU: A0.767191 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. 17 pages. Lyons Music Services #3073723. Published by Lyons Music Services (A0.767191). Monteverdi's third book of madrigals of 1592 is one of the earliest steps towards the writing of opera as we know it. In this collection of songs, Monteverdi, for the first time, starts to bring small groups of songs (2 or 3) to form a 'Scena - a collection with similar words or on a similar theme or by the same poet and keeping them as a little group within the book of madrigals. The fourth song, O Dolce Anima Mia is a song about the search for love.As with all of Monteverdi's vocal music, it translates really well onto instruments. The individual madrigals are available separately. This flexible arrangement is equally playable on woodwind ensembles as on brass.Flexible quintet parts are supplied as follows:Part 1 in Bb,Part 2 in Bb, Part 3 in Bb/Eb/F, Part 4 in Bb/Eb/C(Bass clef) and Part 5 in Bb/Eb/C(Bass clef)Other parts may be requested free of charge.

Brass Ensemble - Level 4 - Digital Download SKU: A0.767207 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. 16 pages. Lyons Music Services #3074249. Published by Lyons Music Services (A0.767207). Monteverdi's third book of madrigals of 1592 is one of the earliest steps towards the writing of opera as we know it. In this collection of songs, Monteverdi, for the first time, starts to bring small groups of songs (2 or 3) to form a 'Scena - a collection with similar words or on a similar theme or by the same poet and keeping them as a little group within the book of madrigals. The 19th song, Rimanti in Pace begins as follows: Rest peacefully It is another song of about our shepherdess, Phyllis! This song begins the final 'scena' within this book, a group of two linked songs (Nos 19-20) which is also available as a single download.As with all of Monteverdi's vocal music, it translates really well onto instruments. The individual madrigals are available separately. This flexible arrangement is equally playable on woodwind ensembles as on brass.Flexible quintet parts are supplied as follows:Part 1 in Bb,Part 2 in Bb, Part 3 in Bb/Eb/F, Part 4 in Bb/Eb/C(Bass clef) and Part 5 in Bb/Eb/C(Bass clef)Other parts may be requested free of charge.

Brass Ensemble - Level 4 - Digital Download SKU: A0.767197 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. 15 pages. Lyons Music Services #3074157. Published by Lyons Music Services (A0.767197). Monteverdi's third book of madrigals of 1592 is one of the earliest steps towards the writing of opera as we know it. In this collection of songs, Monteverdi, for the first time, starts to bring small groups of songs (2 or 3) to form a 'Scena - a collection with similar words or on a similar theme or by the same poet and keeping them as a little group within the book of madrigals. The 8th song, Vattene pur crudel is a song about the a man losing his lover, albeit temporarily, as he refuses to follow her.As with all of Monteverdi's vocal music, it translates really well onto instruments. The individual madrigals are available separately. This flexible arrangement is equally playable on woodwind ensembles as on brass.Flexible quintet parts are supplied as follows:Part 1 in Bb,Part 2 in Bb, Part 3 in Bb/Eb/F, Part 4 in Bb/Eb/C(Bass clef) and Part 5 in Bb/Eb/C(Bass clef)Other parts may be requested free of charge.

Brass Ensemble - Level 4 - Digital Download SKU: A0.767192 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. 23 pages. Lyons Music Services #3074147. Published by Lyons Music Services (A0.767192). Monteverdi's third book of madrigals of 1592 is one of the earliest steps towards the writing of opera as we know it. In this collection of songs, Monteverdi, for the first time, starts to bring small groups of songs (2 or 3) to form a 'Scena - a collection with similar words or on a similar theme or by the same poet and keeping them as a little group within the book of madrigals. The fifth song, Stracciami Pur Il Core is a song about carnal love.As with all of Monteverdi's vocal music, it translates really well onto instruments. The individual madrigals are available separately. This flexible arrangement is equally playable on woodwind ensembles as on brass.Flexible quintet parts are supplied as follows:Part 1 in Bb,Part 2 in Bb, Part 3 in Bb/Eb/F, Part 4 in Bb/Eb/C(Bass clef) and Part 5 in Bb/Eb/C(Bass clef)Other parts may be requested free of charge.

Brass Ensemble - Level 4 - Digital Download SKU: A0.767190 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. 20 pages. Lyons Music Services #3073715. Published by Lyons Music Services (A0.767190). Monteverdi's third book of madrigals of 1592 is one of the earliest steps towards the writing of opera as we know it. In this collection of songs, Monteverdi, for the first time, starts to bring small groups of songs (2 or 3) to form a 'Scena - a collection with similar words or on a similar theme or by the same poet and keeping them as a little group within the book of madrigals. For those familiar with songs of this time, No3 is about the shepherdess, Phyllis, famous of many a song of the time and the pleading of her lover.As with all of Monteverdi's vocal music, it translates really well onto instruments. The individual madrigals are available separately. This flexible arrangement is equally playable on woodwind ensembles as on brass.Flexible quintet parts are supplied as follows:Part 1 in Bb,Part 2 in Bb, Part 3 in Bb/Eb/F, Part 4 in Bb/Eb/C(Bass clef) and Part 5 in Bb/Eb/C(Bass clef)Other parts may be requested free of charge.

Brass Ensemble - Level 4 - Digital Download SKU: A0.767195 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. 15 pages. Lyons Music Services #3074159. Published by Lyons Music Services (A0.767195). Monteverdi's third book of madrigals of 1592 is one of the earliest steps towards the writing of opera as we know it. In this collection of songs, Monteverdi, for the first time, starts to bring small groups of songs (2 or 3) to form a 'Scena - a collection with similar words or on a similar theme or by the same poet and keeping them as a little group within the book of madrigals. The 9th song, La Tra'l Sangue is a song about love and war. The opening words are Between the blood and the dead.As with all of Monteverdi's vocal music, it translates really well onto instruments. The individual madrigals are available separately. This flexible arrangement is equally playable on woodwind ensembles as on brass.Flexible quintet parts are supplied as follows:Part 1 in Bb,Part 2 in Bb, Part 3 in Bb/Eb/F, Part 4 in Bb/Eb/C(Bass clef) and Part 5 in Bb/Eb/C(Bass clef)Other parts may be requested free of charge.

Alto Saxophone,Piano - Level 4 - Digital Download SKU: A0.533353 Composed by Ali Ben Sou Alle, Vincenzo Bellini. Arranged by Paul Wehage. Concert,Opera,Romantic Period,Standards. Score and part. 28 pages. Musik Fabrik Music Publishing #2363203. Published by Musik Fabrik Music Publishing (A0.533353). One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (Charles-Valentin Soualle) was born in1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director ofmusic of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London.While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series inLondon. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octavemechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and begantouring performing solo recitals (or mono-concerts, as they were called at the time) calling his modified saxophone the«turcophone ». He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, throughChina and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It wasduring this period that he converted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). Hesubsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyageswere subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection knownas The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution.Around 1860, Soualle returned to France for health reasons and began publishing his own music. On March 27 1865, heperformed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire ImperialFamily. After 1865, nothing more is known about him.This fantasy begins with motifs from the 1st act chorus « Sempre Felc’Amina » ». The Count’s first act aria « Vi ravisso, o loughi ameni » is followed by an extended cadenza and leads to Amina and Elvino’s first act duo « Prendi l’amel ti dono ». Amina’s second act aria « Ah non guige! » is presented with a brilliant variation to bring the work to a close.

Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.533506 Composed by Ali Ben Sou Alle. Concert,Romantic Period,Standards. Score and part. 13 pages. Musik Fabrik Music Publishing #3002369. Published by Musik Fabrik Music Publishing (A0.533506). Jenny L'Ouvrière is a popular romance from 1845 with music by Étienne Arnaud and words by Emile Barateau. The song speaks of an hardworking weaver who is poor, but also courageous and good. The pastorale-like theme is also presented in a more varied form.One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (Charles-Valentin Soualle) was born in 1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director of music of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London. While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series in London. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octave mechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and began touring performing solo recitals (or mono-concerts, as they were called at the time) calling his modified saxophone the «turcophone ». He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, through China and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It was during this period that heconverted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). He subsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyages were subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection known as The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution. Around 1860, Soualle returned to France for health reasons and began publishing his own music. OnMarch 27 1865, he performed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire Imperial Family. After 1865, nothing more is known about him.

Piano,Soprano Saxophone - Level 4 - Digital Download SKU: A0.533350 Composed by Ali Ben Sou Alle. Arranged by Paul Wehage. Concert,Romantic Period,Standards. Score and part. 39 pages. Musik Fabrik Music Publishing #2348229. Published by Musik Fabrik Music Publishing (A0.533350). One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (Charles-Valentin Soualle) was born in1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director ofmusic of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London.While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series inLondon. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octavemechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and begantouring performing solo recitals (or mono-concerts, as they were called at the time) calling his modified saxophone the«turcophone ». He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, throughChina and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It wasduring this period that he converted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). Hesubsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyageswere subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection knownas The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution.Around 1860, Soualle returned to France for health reasons and began publishing his own music. On March 27 1865, heperformed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire ImperialFamily. After 1865, nothing more is known about him.Souvenirs de l'Inde (Souvenirs of India) starts with an expressive andante. A folksong from the region of Malabar is presented in an evocation of drums, bells and pipes and is then varied. The final polonaise is in rondo form and ends with a brilliant coda.

Piano Solo - Level 5 - Digital Download SKU: A0.984695 Composed by Johann Sebastian Bach. Arranged by John M. Honeycutt. Baroque. Score. 6 pages. Music Innovators Workshop #4356271. Published by Music Innovators Workshop (A0.984695). This is a very interesting 4 voice fugue. I like a lot - but I can't play it on this tablature - even though I can play it on traditional notation. I wonder if it's because I learned to play it first on the traditional notation, or if the complexity of the piece makes the tablature less effective than it is on less complex pieces. Actually, i'm fascinated by the way it looks on the tablature. The weaving of the melody lines is very interesting. It really is a visual work of art!  6 Pages.This piece is notated on a vertically oriented tablature called a key map. Key maps are intended to SHOW you (visually) which keys to play by matching (mapping) the locations of the keys on the keyboard. >>> The group of 12 keys from Middle C up to B form what we call the green Octave Group (There are 7 of these identical groups on the piano distinguished by their colors and locations.) The key map staff is based on an octave group of the keyboard. For each key map octave group, the 5 vertical lines of the staff stand for the 5 matching black KEYS. >>> Staff lines ARE SPACED to match the horizontal spacing of the black keys on the keyboard The notes for black keys are placed ON these staff lines. The notes for the white keys are placed BETWEEN the lines. >>> The notes of a key map move to the left and right to indicate change in PITCH and down the page to indicate the passing of TIME (rhythm). The vertical length of each note is proportional to the time (in beats) that the sound requires.If you want to know more about this beautiful key map notation, you might consider reviewing our article describing how this notation works, entitled: Getting Started With Key Maps for the Piano. It contains an explanation of how key maps work and includes a number of examples. 16 pages. It is promotionally priced at only $1.99. (Actually, you can read the fist few pages simply by going to the look inside pages of the article.)

Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1256705 By The Beyond the Walls Choir. By Words: Daniel March / Music: W. A. Mozart. Arranged by Lyndell Leatherman. Christian,Religious,Sacred. Score. 2 pages. Leatherman Music Services #850074. Published by Leatherman Music Services (A0.1256705). Welcome to this entry in the Leatherman Library of Hymnody (LLOH).Features of the series include:•Intermediate 2-page arrangements suitable as either piano or organ solos.•Chord symbols included as a service to classical guitarists.•Lyrics included (and occasionally updated) to facilitate congregational singing or vocal solo.•Hymn background information included for personal edification or use as printed program notes.•Optional repeats which allow you to fit into the allotted time available in a service.•An introduction and/or tag in many cases, often incorporating a classical excerpt or related hymn fragment.If you like this format, you may be interested in a published volume of 75 similar arrangements: BEST-LOVED HYMNS I  (© FJH Music, distributed by Alfred Music).************It has long been my passion and privilege to create customized arrangements for the churches and schools with whom I have been associated. Many were published; some were not. During the 2020 slowdown caused by Covid-19, I finally had the time to start posting the unpublished resources on Sheet Music Plus. If you are curious about what else is available, please navigate to my publisher page here on SMP < https://www.sheetmusicplus.com/publishers/leatherman-music-services/16718 >  or slip over to Facebook < https://www.facebook.com/leathermanmusicservices >, where you can see and hear many of my published works. Thanks for your interest!   God bless!Lyndell Leatherman, ASCAP.

Brass Ensemble - Level 3 - Digital Download SKU: A0.767277 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. 79 pages. Lyons Music Services #3218695. Published by Lyons Music Services (A0.767277). As part of my continuing project to transcribe Monteverdi's madrigals onto winds, here is the 6th book. In this book we see a much greater development towards dramatic representation. In a way, this book is divisible into two Scenes with a number of single items in between. The vocal lines are all much more complex and we can also see the beginnings of monodic writing appear in the semi-recit sections of some of the songs. Also clearly developing are delineations of the voices into soloists and chorus. Several songs in this book are almost akin to arias, with clear soloistic writing for the higher voices (Cantus/Tenor). The songs starting from no 8 form a set of 6 to which Monteverdi gave a separate title Sestina Within this set of songs Monteverdi creates a little dramatic episode which foreshadows many of the developments that we find in his early operas: Monody/recitative, dialogue between chorus and soloist, a tendency to give the high parts strong melodic lines and a clear division of the roles of the singers. For the time being, until someone asks, I am not going to release the separate songs from Sestina individually as some of them are a little short. A sestina is a complicated verse form of six stanzas each of six lines with rules about repeating the last line of the first stanza. The poetic form is of little use to us as instrumentalists, but the dramatic mourning, cries of anguish and the feelings of loss embodied in the music will come through regardless of the lack of words. As with all things madrigalian, the lyrics are rife with double entendres.

Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1402154 By Trail Reeves. By Words & Music: Fanny J. Crosby. Arranged by Lyndell Leatherman. Christian,Religious,Sacred. Score. 2 pages. Leatherman Music Services #985362. Published by Leatherman Music Services (A0.1402154). Welcome to this entry in the Leatherman Library of Hymnody (LLOH).Features of the series include:•Intermediate 2-page arrangements suitable as either piano, electronic keyboard, or organ solos or duets.•Chord symbols included as a service to classical guitarists.•Smooth voice-leadings, making the arrangements ideal for solo/prelude use on electronic keyboards–for example, using the piano/strings setting•Lyrics included (and occasionally updated) to facilitate congregational singing or vocal solo.•Hymn background information included for personal edification or use as printed program notes.•Optional repeats which allow you to fit into the allotted time available in a service.•An introduction and/or tag in many cases, often incorporating a classical excerpt or related hymn fragment.If you like this format, you may be interested in a published volume of 75 similar arrangements: BEST-LOVED HYMNS I, available here: https://www.alfred.com/best-loved-hymns-i/p/98-FJH2023/************It has long been my passion and privilege to create customized arrangements for the churches and schools with whom I have been associated. Many were published; some were not. During the 2020 slowdown caused by Covid-19, I finally had the time to start posting the unpublished resources on Sheet Music Plus. If you are curious about what else is available, please navigate to my publisher page here on SMP < https://www.sheetmusicplus.com/publishers/leatherman-music-services/16718 >  or slip over to Facebook < https://www.facebook.com/leathermanmusicservices >, where you can see and hear many of my published works. Thanks for your interest!   God bless!Lyndell Leatherman, ASCAP.

Full Orchestra - Level 4 - Digital Download SKU: A0.869368 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 126 pages. Thomas Oboe Lee #33643. Published by Thomas Oboe Lee (A0.869368). Instrumentation: 3232-4331-timp-2perc-pf-hp-strings. Program note. Nineteen ninety-eight marks the tenth anniversary of my plunge into the world of ballet. I continue to take classes three or four times a week. It's fun, athletic, and challenging. And I'm still working on the basic notion of spotting in my pirouettes ... So when Max Hobart of the Civic Symphony Orchestra of Boston agreed to premiere a new work of mine I knew it had to be a symphonic ballet. Coincidentally, I discovered that my favorite cartoonist, Edward Gorey, is also a balletomane. He lived in New York City between 1953 and 1986 and never missed a single performance of the New York City Ballet. Apparently his leaving New York to live permanently on Cape Cod was prompted by the death of George Balanchine in 1983. Among Edward Gorey's many books there is one, The Gilded Bat, about a young woman, Maud Splaytoe, and her adventures in the ballet world. She dies in the end when the plane she is in flies into a great, dark bird. Hmmm, I thought, The Gilded Bat would make a nice adagio movement. To complete the work, I found four other Gorey books that attracted me in mood and texture: The Nursery Frieze - dogs running across the edge of a nursery ceiling, barking out words whose sequence provides no sense or meaning, e.g., Archipelago, cardamon, obloquy, ignavia, samisen, bandages, wax, Gavelkind, ... ; The Raging Tide - a fantastical story about four creatures, Figbash, Hooglyboo, Naeelah and Skrump, who would not stop abusing each other; The Utter Zoo - an alphabet book of zoo animals of Edward Gorey's concoction, e.g., Ampoo, Boggerslosh, Crunk, Dawbis, Epitwee, ... ; and The Blue Aspic - a macabre story of a mad fan, Jasper Ankle, who stalks an opera diva, Ortenzia Caviglia. When he finally meets her at the stage-door after a performance, he stabs her in the throat and cries, J'ai trouvé Hortense! Symphony No. 2 ... A Phantasmagorey Ballet is in five movements: I. The Nursery Frieze, Con moto. II. The Gilded Bat Adagio: Pas seul for Mirella Splatova, aka Maud SplaytoeIII. The Raging Tide Presto: Pas de Quatre for Figbash, Hooglyboo, Naeelah and Skrump. IV. The Blue Aspic Allegro: Valzer alla Prokofiev ... Pas de deux for Jasper Ankle and Ortenzia Caviglia. V. The Utter Zoo Largo: Grand Funk Finale. This work is dedicated to my wife, Kristin Beckwith, whom I met ten years ago at the Boston Ballet, and who continues to be my one and only ballet teacher.Audio link: https://thomasoboelee.bandcamp.com/album/symphony-no-2-a-phantasmagorey-ballet-1998