Cello Duet Cello - Level 3 - Digital Download SKU: A0.1117347 By Alvaro Carrillo. By Alvaro Carrillo. Arranged by Vanessa Baez Menendez. 20th Century,Jazz,Latin,Multicultural,Singer/Songwriter,World. Score. 3 pages. Madeleine Duba / Watusi Dance co ltd #718909. Published by Madeleine Duba / Watusi Dance co ltd (A0.1117347). Music notes featuring Cuban 20th century Cello Duets available to print and play instantly. A wide range from 1900's - 1960's of Cuban genres like Bolero's, Cha Cha's, Danzon's and Son's, shop our newest and most popular two cellos sheet music such as Besame Mucho (1941) - Cello Duet, Quiza�s, Quiza�s, Quiza�s (1947) - Cello Duet and Frenesi (1939) - Cello Duet, Con tigo Aprendi (1967) - Cello Duet, Besame Mucho (1941) - Cello Duet, Sabor a Mi (1959) - Cello Duet and others. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sabor a Mí (Taste of Me) is a 1959 bolero by Mexican composer and singer �lvaro Carrillo. It was internationally popularized by Los Panchos, who collaborated on their rendition with Eydie Gormé in 1964.[1] Among the over 300 songs that he created, this song was considered Carrillo's biggest hit both in Mexico and internationally.[2] Since its creation, the song has been covered by several artists, including among them Mexican singer Luis Miguel, Cuban jazz pianist Bebo Valdes, k-pop boygroup EXO, and the Mexican American musicians Los Lobos.

Piano Solo - Digital Download SKU: A0.750176 Composed by Bradley Sowash. Classical,Contemporary,Wedding. Score. 4 pages. Bradley Sowash #3894247. Published by Bradley Sowash (A0.750176). New, yet familiar-sounding wedding music.Somewhat reminiscent of Pachelbel’s famous Canon in D, it's a good fit for contemporary couples who want a ceremonial character but wish to avoid the cliche of traditional wedding marches. Download includes a photocopy license authorizing you to print as many copies as required for your personal and/or institutional use.  I originally wrote this classically-influenced piece as a string quartet for my own wedding. Thirty-five years later, my oldest daughter asked me to reset it for solo piano for her wedding and so here it is! Pianistically considerate, the patterned figures feel good under the fingers. A 4-measure introduction and clearly heard sections can serve as cues for timing the bride and groom’s entrance.Built in repeats are designed to cycle as needed for longer processionals or be cut and still sound musically coherent. Chord symbols are included as a reader's safety net or to facilitate improvisation.

Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197730 By Juan María Solare. By Juan María Solare. Arranged by Juan María Solare. 20th Century,Classical,Contemporary. Score and parts. 64 pages. Juan Maria Solare #796911. Published by Juan Maria Solare (A0.1197730). Piano Concerto No. 1 - SECOND movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HERE:https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049Video in YouTube (score follower)Aesthetic reflections on the piano concerto (by Juan María Solare)During the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.

Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197728 By Juan María Solare. By Juan María Solare. 20th Century,Classical,Contemporary. Score and parts. 74 pages. Juan Maria Solare #796909. Published by Juan Maria Solare (A0.1197728). Juan María Solare: Piano Concerto No. 1 - FIRST movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HERE:https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049Video in YouTube (score follower)Aesthetic reflections on the piano concertoDuring the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.

Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197732 Composed by Juan María Solare. 20th Century,Classical,Contemporary. Score and parts. 53 pages. Juan Maria Solare #796913. Published by Juan Maria Solare (A0.1197732). Piano Concerto No. 1 - THIRD movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HEREavailable HERE:(https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049).Video in YouTube (score follower)Aesthetic reflections on the piano concerto (by Juan María Solare)During the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.Full score available here

Piano Solo, Piano/Vocal/Chords - Intermediate - Digital Download By Buena Vista Social Club. Arranged by Mario Stallbaumer. 9 pages. Published by Mario Stallbaumer

Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1198482 By Tony Bennett. By Douglass Cross and George Cory. Arranged by John Fries. 20th Century,Jazz,Pop,Standards. Score. 2 pages. John Fries #797624. Published by John Fries (A0.1198482). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer.   I Left My Heart in San Francisco is a popular song, written in the fall of 1953 in Brooklyn, New York, with music by George Cory (1920–1978) and lyrics by Douglass Cross and best known as the signature song of Tony Bennett. In December 1961, in the famous Venetian Room at the Fairmont Hotel in San Francisco, Tony Bennett first sang I Left My Heart in San Francisco. In the audience that night were San Francisco mayor George Christopher and future mayor Joseph L. Alioto. From the 1960s through the 1980s, at San Francisco's premier supper club the Venetian Room, Bennett sang the city song.

C Instrument - Level 4 - Digital Download SKU: A0.500170 By Tony Bennett. By Douglass Cross and George Cory. Arranged by John Fries. 20th Century,Jazz,Standards. Lead Sheet / Fake Book. 1 pages. John Fries #113354. Published by John Fries (A0.500170). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer.   I Left My Heart in San Francisco is a popular song, written in the fall of 1953 in Brooklyn, New York, with music by George Cory (1920–1978) and lyrics by Douglass Cross and best known as the signature song of Tony Bennett. In December 1961, in the famous Venetian Room at the Fairmont Hotel in San Francisco, Tony Bennett first sang I Left My Heart in San Francisco. In the audience that night were San Francisco mayor George Christopher and future mayor Joseph L. Alioto. From the 1960s through the 1980s, at San Francisco's premier supper club the Venetian Room, Bennett sang the city song.

Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197642 Composed by Juan María Solare. 20th Century,Classical,Contemporary. Score and parts. 77 pages. Juan Maria Solare #796823. Published by Juan Maria Solare (A0.1197642). Juan María Solare: Piano Concerto (No. 1)PARTSPiano Concerto No. 1 - FIRST movement [score and parts]https://www.sheetmusicplus.com/title/22466227?aff_id=565049https://www.sheetmusicplus.com/title/piano-concerto-no-1-first-movement-score-and-parts-digital-sheet-music/22466227?aff_id=565049https://www.sheetmusicplus.com/22466227?aff_id=565049Piano Concerto No. 1 - SECOND movement [score and parts]https://www.sheetmusicplus.com/title/22466231?aff_id=565049Piano Concerto No. 1 - THIRD movement [score and parts]https://www.sheetmusicplus.com/title/22466233?aff_id=565049Aesthetic reflections on the piano concertoDuring the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.1st movement - https://youtu.be/DNckBKzaWtc2nd movement - https://youtu.be/1Zy0ZbrdPJE3rd movement - https://youtu.be/dnYE9dWUEZg

Composed by Traditional song. Arranged by Keith Terrett. 20th Century, Romantic Period, World, Asian, Patriotic. Score, Set of Parts. 8 pages. Published by Casio (S0.112743). - Score,Set of Parts - 20th Century,Romantic Period,World,Asian,Patriotic - Casio

Piano Solo, Violin - Digital Download Composed by Charles Francois Gounod (1818-1893). Arranged by Yoel Epstein. Romantic Period, Repertoire, Halloween, Children's Music, Fairy Tales. Score, Set of Parts. 6 pages. Published by Yoel Epstein

Saxophone Ensemble,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.1140852 By Oscar Peterson. By Harriette Hamilton and Oscar Peterson. Arranged by James Pybus. 20th Century,Blues,Jazz,Praise & Worship,Spiritual. 39 pages. James Pybus #741106. Published by James Pybus (A0.1140852). Recognized as one of Oscar Peterson’s most significant compositions, Hymn to Freedom was written in 1962 and was swiftly embraced by people over the world as the anthem of the Civil Rights Movement. The piece was Peterson’s first major work and was written with encouragement from his producer and dear friend Norman Granz. During those initial recording sessions, Granz urged Peterson to create a tune with a “definitive early-blues feel�. For inspiration, Peterson drew upon various church renderings of Negro spirituals recalled from his childhood in Montreal. He aimed to maintain the unadorned, yet poignant quality of these early Baptist hymns while composing the beginning chorus of Hymn to Freedom. Upon its completion, Peterson and Granz decided that lyrics would complement the music and contacted Malcolm Dodds, composer, arranger and choir director of The Malcolm Dodds Singers, a backup group for many popular artists of the day. Dodds turned to his collaborator Harriette Hamilton, who had been writing lyrics for the choir group’s original compositions for several years. According to Hamilton, “all the lyrics had to do was express in very simple language the hope for unity, peace, and dignity for mankind. It was easy to write.� With Peterson on piano, Ray Brown on bass and Ed Thigpen on drums, the trio recorded the piece on Night Train (Verve 1962), which became one of their most commercially successful albums. Critical acclaim moved Peterson to record Hymn to Freedom on several albums that followed. This arrangement is playable by SATB Saxophone Quartet with optional Bass Saxophone, String Bass and Drums. For performances by SATB Saxophone Quartet without rhythm, the part marked Baritone Saxophone 2 (substitute Bass Saxophone) should be used. Some improvising is allowed for in the soprano, alto and tenor parts. Optional written solos are provided. This arrangement will enhance a wide variety of concert programmes and performance situations. The duration is 4:45. Contact me at james.pybus56@gmail.com.

Percussion Sextet - Level 3 - Digital Download SKU: A0.1243076 Composed by Claire Noel Pawlewitz. 21st Century,Chamber,Contemporary. 18 pages. Claire Noel Pawlewitz #838113. Published by Claire Noel Pawlewitz (A0.1243076). This intermediate-level percussion ensemble work was written to be dynamic and flexible, and is well suited for high school and college groups. While originally a sextet featuring one on a part (Marimba, Vibraphone, 3 Toms, Clay Pots, Tambourine, & Timpani) the mallets, toms, and clay pots parts lend themselves well to part doubling and experimentation with different types of sounds (ex. temple blocks instead of clay pots). Fictilia can be performed with our without a conductor, and is a great piece for practicing chamber communication, careful listening, and individual part work. Though not necessary, printing the score larger and having the players attach it to poster board makes this piece an ideal introduction to scores and part ownership. Having rehearsed and performed the piece both with full score and individually printed parts, I highly recommend the full score route if time allows. Please write to me and let me know how it goes!      

Clarinet, Woodwind Quintet, Woodwind Choir or Ensemble - Intermediate - Digital Download By Lalo Schifrin. Arranged by Carson Yu. Score, Set of Parts. 18 pages. Published by Carson Music Gallery