String Quartet - Advanced Intermediate - Digital Download By Michael Buble. Arranged by Alison Gillies. Score, Set of Parts. 13 pages. Published by quartetpad.com

Guitar Tab, Classical Guitar, Fingerpicking Guitar, Guitar Solo, Acoustic Guitar - Intermediate - Digital Download By Luis Miguel. Arranged by PianoSheetNow. Sheet Music Single, Tablature. 2 pages. Published by PianoSheetNow

Guitar, Guitar Tab, Classical Guitar, Fingerstyle Guitar, Guitar solo, Acoustic guitar - Intermediate - Digital Download Composed by Traditional. Arranged by PianoSheetNow. 21st Century, 20th Century, Romantic Period, Classical Period, Folk. Sheet Music Single, Tablature. 3 pages. Published by PianoSheetNow

Guitar, Guitar Tab - Intermediate - Digital Download Arranged by Mona Wang. Individual Part, Lead Sheet, Score, Sheet Music Single, Solo Part, Tablature. 5 pages. Published by Mona Wang and Ignatius Heng

Guitar Tab, Classical Guitar, Fingerstyle Guitar, Guitar solo, Acoustic Guitar - Early Intermediate - Digital Download Composed by Traditional. Arranged by PianoSheetNow. 21st Century, 20th Century, Romantic Period, Folk, Latin. Sheet Music Single, Tablature. 2 pages. Published by PianoSheetNow

String Quartet - Intermediate - Digital Download By The Beatles. Arranged by Sarah Cellobat Chaffee. Score, Set of Parts. 15 pages. Published by Sarah Chaffee

String Quartet - Intermediate - Digital Download By Panic! At the Disco. Arranged by Sarah Cellobat Chaffee. Score, Set of Parts. 21 pages. Published by Sarah Chaffee

Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download

SKU: A0.948697

Composed by Mark S. Massey. Blues,Jazz. Score and parts. 3 pages. Geofonica Artistworks #6038029. Published by Geofonica Artistworks (A0.948697).

Professor M & M's Jive Detector is a super cool, very bluesy instrumental jazz hit (in lead sheet format here) from pianist Mark Massey's breakthrough jazz LP: API: Acoustic Piano International. (NOTE: A Bb leadsheet is also available.) The piano and tenor sax interact, with sax and piano doubling the main melody (performed by guest saxophonist Plas Johnson--famed Wrecking Crew sax/woodwind player who was featured on The Pink Panther Theme), plus sax and piano in blues interplay and counterpoint. It's a great vehicle for musical interplay, blues/jazz improvisation, and laid-back bluesy rhythm section grooves. The API track features Plas Johnson on sax backed by the Mark Massey trio, with Eric Stiller on acoustic bass and Aldo Bentivegna on drums.

ABOUT MARK:
In 2018, the California State Assembly and the Los Angeles County Board of Supervisors issued proclamations recognizing Mark Massey as a Jazz Living Legend. Jazz pianist-composer Mark Massey was born and raised in Lynwood, California, where he showed early talent on piano, trombone, and drums. During high school, he studied classical piano and played in the bands Synopsis (with future trumpet giant Wayne Bergeron), and Sabor (with Poncho Sanchez and the Banda Brothers). Mark played in the Pico Rivera Stage Band, which won First Place at the Hollywood Bowl Battle of the Bands. Mark graduated from California State University, Long Beach (with Bachelors and Masters degrees in Music), where he was recipient of the Carmen Dragon Fellowship for composition and he was dubbed A Young Giant by the National Association Of Jazz Educators.

Mark has performed throughout the U.S., Europe, the former Soviet Union (in the 1980s), Russia (2001), the Far East and India. He has worked with Larry Carlton, David Benoit, Paul Horn, Hubert Laws, Louie Bellson, the Side Street Strutters, Phil Upchurch, L. Subramaniam, Freddie Hubbard, Maynard Ferguson, Yehudi Menuhin, Stéphane Grappelli, and Tony Williams. Mark was featured in The Four Pianos In Concert series along with pianists Paul Smith, Pete Jolly and Steve Allen.

Mark Massey's debut CD, Acoustic Piano International, has received wide airplay on jazz radio. API featured nine of Mark's original jazz compositions--including Professor M&M's Jive Detector, offered here--inspired by his musical excursions around the globe, along with Eric Stiller (bass) and Aldo Bentivegna (drums), and guest artists Alex Acuña, percussion (Weather Report), Justo Almario, flute (Mongo Santamaria), Plas Johnson, tenor sax (The Pink Panther Theme), Bob Mintzer, soprano sax (The Yellow Jackets), and Ron Stout, flugelhorn,

More recently, Mark has been recording his iconic Jazz Thoughts for the Day albums of original jazz improvisional compositions for each day of the year. Jazz Thoughts for the months of January through July have thus far been released.

COMMENTS FROM MAJOR CRITIC REVIEWS OF MARK MASSEY:

Mark Massey is awfully good. His friendly, lyrical, melodic piano has a sound unto itself, bop and post-bop influenced, contemporarily informed, and languishing solidly in the modern mainstream. ...This is a very good trio that is together in many aspects of jazz expressionism. In larger, more interactive settings, Massey proves he has ideas that work well. ...Massey's talent being exposed is a breakthrough. A majority of jazz listeners should find this a worthwhile purchase, and a keeper.  Recommended.

----MICHAEL G. NASTOS, ALL MUSIC GUIDE (CD review of Acoustic Piano International)

Mark Massey is an excellent straight-ahead pianist who often appears in the L.A. area. ...his playing is consistently appealing. Of the trio numbers, the often-introspective Flowers For Dorothy, the heated Limejuicer Blues, and .

String Quartet - Advanced Intermediate - Digital Download By Aerosmith. Arranged by Sarah Cellobat Chaffee. Score, Set of Parts. 15 pages. Published by Sarah Chaffee

Brass Ensemble - Level 3 - Digital Download

SKU: A0.808703

Composed by Guy d'Hardelot (1858 – 1936). Arranged by F. Leslie Smith. Holiday,Romantic Period,Spiritual,Wedding. Score and parts. 18 pages. Sweetwater Brass Press #6072651. Published by Sweetwater Brass Press (A0.808703).

     This song is a great piece to play for a general concert. But it really shines in matrimonial settings. The fact is: No wedding is complete without the performance of Because.
     Helen Guy, the daughter of an English sea captain and a French singer, was born at Château d'Hardelot in France. She entered the Paris Conservatory at age 15, and in her early 20s composed a musical setting for Victor Hugo’s Sans toi, which gained some popularity. She composed over 300 songs using the name Guy d'Hardelot. She was also a noted piano accompanist. After marrying W.I. Rhodes, she settled in London and taught singing. As a composer, she is best remembered for Because (Parce Que), for which she wrote both the music and the French words. It was first published in 1902 with English lyrics by Edward Teschemacher and has since been recorded many times by many different artists.
     This arrangement was derived from the 1902 Chappell & Co. score in C major for piano and voice. For the most part, however, the musical setting is original and different. Throughout most of the piece, Horn in F carries the melody with Trombone and Tuba providing an arpeggio accompaniment. Trumpets 1 and 2 play a syncopation figure for the opening and the end but during the majority of the arrangement they provide an antiphonal response to the melody. The opening is marked Poco Adagio with a suggested metronome setting of 76, but the tempo does vary rather frequently. All notes are well within the range of each instrument; e.g., B-flat Trumpets’ highest note is G at the top of their staff, while Tuba’s lowest note is A below the staff. All-in-all, this arrangement is a beautiful and poignant setting for an old favorite, a real crowd pleaser.
     Completed in 2020, performance time for Because runs about 3 minutes, 22 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge; contact him directly at lessmith61@bellsouth.net. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the search box. (Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt directly to him at lessmith61@bellsouth.net.)

Piano Solo - Level 3 - Digital Download

SKU: A0.1257384

Composed by Johann Sebastian Bach. Arranged by Darek. Baroque,Classical,Early Music,Wedding. Score. 2 pages. Darek #850717. Published by Darek (A0.1257384).

Indulge in the sublime beauty of Air on the G String, an extraordinary composition from Suite No. 3 (BWV 1068) by the revered Johann Sebastian Bach. Immerse yourself in the enchanting melody and let your fingers navigate the intricacies of this medium difficulty piano arrangement, capturing the essence of this timeless classic.

Designed for pianists seeking a captivating challenge, this medium difficulty piano sheet music unveils the true depth and complexity of Bach's masterpiece. As you embark on this musical journey, you'll discover the harmonious balance between technical brilliance and expressive nuances, allowing you to showcase your artistry and command over the keyboard.

Experience the unique blend of elegance and emotional depth as each note resonates with sheer brilliance. The Air on the G String stands out for its ability to evoke a profound sense of tranquility and introspection, captivating listeners with its ethereal charm.

Unleash your musical expression and let your fingertips breathe life into this magnificent piece. Delve into the rich tapestry of emotions woven within the composition, from gentle whispers to soaring melodies, each phrase telling a captivating story that transcends time and space.

Whether you're a seasoned performer or an aspiring pianist looking to expand your repertoire, this medium difficulty piano sheet music is a treasure trove of artistic possibilities. Elevate your playing to new heights and delight audiences with a truly captivating rendition of Bach's timeless masterpiece.

Keywords: Air on the G String, medium difficulty piano sheet music, Suite No. 3, BWV 1068, Johann Sebastian Bach, sublime beauty, captivating challenge, technical brilliance, expressive nuances, artistry, command over the keyboard, elegance, emotional depth, profound sense of tranquility, introspection, ethereal charm, musical expression, captivating story, seasoned performer, aspiring pianist, expand your repertoire, artistic possibilities, timeless masterpiece.

Picc. 2 Fl. Afl. Bfl - Intermediate-Advanced - Digital Download

SKU: F2.FM557

Composed by James d'Angelo. Flute Quintet - Piccolo, 2 flutes, Alto Flute, Bass Flute. Score and parts. 31 pages. Forton Music - Digital #FM557. Published by Forton Music - Digital (F2.FM557).

ISBN 9790570484560.

The Wounded Angel (2013) is written for piccolo, two flutes, alto flute and bass flute, and is dedicated to Christine Turellier, a professor of flute at the Lille Conservatory of Music (France) where the work was premiered. These pieces were inspired by a painting entitled The Wounded Angel (1967) by the visionary British artist Cecil Collins (1908-1990). His works have been the basis for a number of D'Angelo's compositions. For example, one of his latest pieces for orchestra takes its inspiration from Collins' painting The Angel of the Flowing Light (1968). In his extensive output the artist often used angels and fools as symbols of purity and wisdom. In the painting, the earthbound, winged, wounded angel is lying on its side with its eyes closed. Its colours blend in with the purplish colours of the earth. In the distance is a mountain shaped like a pyramid while the sky is filled with shades of orange. Just at the point where the mountain meets the bleak landscape we see the sun just rising. This angel has been injured and fallen to Earth and in its distress has to find a way of healing itself and ascending to its spiritual home. In this highly impressionistic piece the piccolo stands for the wounded angel. It has a three note motif and its wound is suggested by the semitone difference of the second note each time the motif is repeated. The piece is a voyage through all the states of mind the angel experiences. For example, there are moments of contemplation and peace where the alto and bass flutes play rocking rhythms in open fifths. The final bars of The Wounded Angel portray the gentle power of the angel to heal itself and return to the heavens. Here, following the motif of the gently rocking rhythms the piccolo plays two ascending fourths leading to a G sharp which has its resolution in the angels keynote A.

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download

SKU: S9.Q7038

Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038).

Latin • German.

On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting go�. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my door�. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean� of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdom�. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeterna�. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen� [“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning�] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben� [“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold�]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus� [“And my soul spread its wings wide. Flew through the still country as if homeward bound.�]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed� occupation with the “old� country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomer�. Harald WeissColonia de San PedroMarch 2009

1 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).

Choral Choir,Choral,SSAA Chorus - Level 3 - Digital Download

SKU: A0.1426321

By The Beach Boys. By Fred Fassert. Arranged by Julia Holmber. A Cappella,Barbershop,Blues,Comedy,Rock. 9 pages. Julia Holmber #1007043. Published by Julia Holmber (A0.1426321).

Breathe New Life into the Iconic Barbara Ann for Your Women's Choir

Conductors and artistic directors of women's vocal ensembles - this one-of-a-kind a cappella arrangement of the beloved 1960s hit Barbara Ann is a must-have for your advanced singers. Meticulously crafted with the challenges of soprano and alto voices in mind, every note has been precisely tailored to showcase the rich harmonies and pristine vocal blend only achievable by top-tier women's choruses.

What truly sets this 5-voice Barbara Ann apart is the fresh, unexpected bluesy ending that adds a stunningly beautiful twist to the vintage rock and roll motif. From the upbeat doo-wop opening to the groovy final chords, your choir will be galvanized by the seamless fusion of classic American musical styles with contemporary a cappella artistry.

Don't let this gem of an arrangement get away. Deliver an electrifying performance of the iconic Barbara Ann that will leave your audience breathless and solidify your ensemble's reputation for artistic excellence. The flawless vocal writing and one-of-a-kind bluesy conclusion make this the quintessential arrangement for women's choirs seeking a true showstopper.