Concert Band - Level 3 - Digital Download SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 29 pages. Jmsgu3 #3461981. Published by jmsgu3 (A0.549206). Duration 3:00. Score 9 pg. Parts 2 pg. ea. Instrumentation: small wind band, no percussion. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.554074 Composed by Henry Balfour Gardiner. Arranged by Ray Thompson. Contemporary. 48 pages. RayThompsonMusic #6597257. Published by RayThompsonMusic (A0.554074). Composed in 1911.Probably intended as an interlude for a projected one-act opera based on Thomas Hardy's 'The Three Strangers'. Premiered at the Queen's Hall at a Promenade Concert and so successful that it was repeated a month later during the same Proms season.(It became a favourite at the Proms, chalking up 35 performances between 1911 and 1951) Henry Balfour Gardiner (7 November 1877 – 28 June 1950) was a British musician, composer, and teacher.He was born at Kensington (London), began to play at the age of 5 and to compose at 9.Between his conventional education at Charterhouse School and New College, Oxford, where he obtained only a pass degree, Gardiner was a piano student at the Hoch Conservatory in Frankfurt, where he was taught by Iwan Knorr and Lazzaro Uzielli, who had been a pupil of Clara Schumann. He belonged to the Frankfurt Group, a circle of composers who studied at the Hoch Conservatory in the late 1890s Gardiner's most important work, possibly, was his promotion of the music of contemporary British and colonial composers, particularly through a series of concerts he personally financed at Queen's Hall London in 1912 to 1913. The composers represented included Arnold Bax, Frederic Austin, Gustav Holst, Percy Grainger, Roger Quilter, Cyril Scott and Norman O'Neill. (The last four had also studied with him at Frankfurt.)Arranged for symphonic wind dectet and bass

Instrumental Duet,Piano Baritone Horn TC/Euphonium,Piano - Level 2 - Digital Download SKU: A0.844515 Composed by Robert Schumann. Arranged by Phil Beaman. Romantic Period,Standards. Score and part. 9 pages. Phil Beaman #3490485. Published by Phil Beaman (A0.844515). In 1849 Robert Schumann completed a set of Romantic character pieces for piano which he named Forest Scenes. One of that set was called Roadside Inn, which I have arranged for Instrumental Solo with Piano Accompaniment. In keeping with the characteristics of the Romantic period my arrangement is full of contrasts and constant shifts between dynamics, articulations, and themes. I took themes and fragments of themes from the original and re-ordered them into a bit of a rondo form. There are interpretive marks in every measure making it a great piece for auditions to show your technique and interpretation. Not too difficult to play but sounds quite advanced when all details are observed. Another feature is the beautiful harmonic interplay between the solo and accompaniment. To be played warmly and with passion to welcome people to your Roadside Inn.  2 1/2 minutes, 5 page score, 2 page solo part (includes solo part in both Bass Clef and Treble Clef)Temporary MIDI recording; a live performance will be much more expressive and free

Fl Electronics - Advanced - Digital Download SKU: F2.FM527 Composed by Apostolos Loufopoulos and Myrto Korkokiou. Flute and Electronic Backing. Score. 9 pages. Forton Music - Digital #FM527. Published by Forton Music - Digital (F2.FM527). ISBN 9790570484263.Ghost (2010) is a continuous and kinetic transition between imaginary sound environments, an intense dialogue between the flute and the surrounding, continuously transforming sound-world of the electronics. The flute part uses a variety of wind tone articulations mostly imitating electronic sounds. This sound effect creates a homogeneity. Electronic part uses a lot of flute sounds electronic manipulated or not. The electronic part was composed by Apostolos Loufopoulos and the flute part by Myrto Korkokiou.

Full Orchestra - Level 4 - Digital Download SKU: A0.796757 Composed by Gary D. Belshaw. 20th Century,Contemporary. Score and parts. 403 pages. DR GARY D BELSHAW #5793507. Published by DR GARY D BELSHAW (A0.796757). COMPLETE SCORE AND PARTS. Duration 10 minutes. 403 pages. Formatted for 9½ x 12½ page size; select fit to page or similar to print on letter size sheets. With motives built from the first four pitch classes of the major scale, Essay represents in music the deterioration of human cells by cancer. The intervals between the pitches of the various motives are decreased by semitones until one motive is stated with quarter-tone (pitches played in the cracks between keys on a piano. Dedicated to the memory of two who lost battles with cancer. 

Instrumental Duet C Instrument,Instrumental Duet,Voice - Digital Download SKU: A0.835777 Composed by Paul Burnell. Contemporary. Score and parts. 7 pages. Paul Burnell #3222615. Published by Paul Burnell (A0.835777). Composed 2015.  One of a series of fourteen accompaniments to texts published between 1896 – 1899 'I Died for Beauty' was included in the posthumous collection 'Poems' by the American poet Emily Dickinson, published in 1890. Duration 3:00 approx.Two or more players or singers and narrator. Instruments in C and singers may read from the score.  Parts are available for transposing instruments and viola. Play/hum in softest octave, instruments muted if possible and others sited away 'off-stage'. Each player starts and continues independently at their own slow tempo. All to have started by the time the first player reaches bar 9 (*) Each may choose any of the slur or paused note options ad lib. The narrator starts reading either before or after the players/singers have started and may leave substantial gaps between the verses. It is also acceptable for the narrator to end after the players/singers have finished playing. At the end, two players - who have finished before the others - slowly rustle plastic bags, or similar, and continue doing this for at least twenty-five seconds after the others have finished playing. If suitable amplification is available the narrator may whisper the text. An electronic echo effect may be added to the instruments. The piece may be performed without narrator. 

Piano,Soprano Flute - Level 3 - Digital Download SKU: A0.1437015 By Milva. By Carlo Carunchio, Ennio Morricone, and Giuseppe Patroni Griffi. Arranged by Eileen Gilligan. 21st Century,Classical,Film/TV,Instructional,Traditional. Score and part. 9 pages. The Flautist #1017083. Published by The Flautist (A0.1437015). D'Amore Si Muore is an excellent way to practice words, expression and phrasing. In this case variations on “love you ” all the way through.Relates brilliantly to Melodious Studies number 11, 13, 14 and also 8.I am a big fan of playing slowly and having absolute control of everything I do down to the last detail and a melody like this is a great tool to practice this. I don’t believe one can play fast before control over slow playing and expression is mastered.Our most natural instrument is our voice . Singing and playing this melody is a terrific way to bridge the gap between the metal flute and one’s voice. The outcome is an amazing resonance ,musical quality in the tone and natural phrasing.Moyse was asked what he thought the French School of flute playing was and he answered” being able to sound like other instruments”. We have to start with the first port of call – our voice.The words you can use for phrasing are ” love you , love you , love you , love you, love you so.” “I really love you so much” ” I really love you so” etc all the way through . You can make up your own.It is worth singing and playing this through. By that I mean play 2 notes, sing 2 and play 2 all the way through without interrupting the musical flow, resonance and tone quality. Great for practising going between singing and playing quickly.Love was a favourite word of Moyse and Wibb. I see why!. It innately has so much expression, warmth, opens up the mouth and in Moyse’s words “scoops the last spoonful of mayonnaise from the jar. ” You definitely can’t say it with “an ugly nasal voice”- Moyse quote.The tone has to have life and expression. I hear so often soft playing as the player blowing softly but that gives such a dull lifeless outcome.

Choral Choir (SAB) - Digital Download SKU: A0.818255 By Stephen R Dalrymple. By Stephen R Dalrymple (Dalrymple Designs). Arranged by Stephen R Dalrymple. Contemporary. Octavo. 26 pages. Stephen R Dalrymple #3563107. Published by Stephen R Dalrymple (A0.818255). Three Blind Mice (aka A Civilized Discussion About the Size of the Prey) arranged for SAT choir by Stephen R Dalrymple music © 2018 Stephen R Dalrymple recording ℗ 2018 Stephen R Dalrymple presentation © 2021 Stephen R Dalrymple sequenced by the arranger ♫ Three Blind Mice was first published in 1609 as a round in A minor in Deuteromelia edited by Thomas Ravenscroft. Three Blinde Mice, Three Blinde Mice, Dame Iulian, Dame Iulian, the Miller and his merry olde Wife, shee scrapte her tripe licke thou the knife. ♫ The rhyme entered Children’s literature in 1842 as published by James Orchard Halliwell. ♫ It has been quoted in compositions by Robert Schumann (Kreisleriana #7), Joseph Holbrooke (Symphonic Variations), Franz Joseph Haydn (Symphony 83 – movement 4), Eric Coates (The Three Men), Leroy Anderson (Fiddle Faddle), Antonín Dvořák (Symphony No. 9 – movement IV Allegro con fuoco,) Havergal Brian (Fantastic Variations on an Old Rhyme), and possibly Sergei Rachmaninoff (Piano Concerto No. 4 – movement 2). ♫ This humorous version was written for a school choir, based on imaginary banter between between the farmer’s wife and her husband. ♫ This .pdf includes 3 files 1) the full score 2) vocal parts 3) full score - smaller size suitable for 10 inch tablet (Tell your computer which pages you want to print. There are programs online that will allow you to split pdf files so that you can choose the correct part of the pdf for your tablet.).

Concert Band - Level 5 - Digital Download SKU: A0.1314999 Composed by Frederick Delius. Arranged by John Ivor Holland. 20th Century,Classical,Film/TV,Romantic Period. 80 pages. John Ivor Holland #903747. Published by John Ivor Holland (A0.1314999). Born in 1862 in Bradford, Yorkshire into a merchant family, the young Delius shunned attempts of a career in commerce and, whilst in America for a short time, began composing, going on to study in Germany and then in Paris. Thanks to English conductor, Thomas Beecham, the works of Delius began to gain more recognition and this lovely work is taken from one of his six operas ('A Village Romeo and Juliet'), with whom he collaborated with his wife, Jelka, on the libretto. While the opera has rarely been staged, this orchestral interlude between Scenes 5 and 6, The Walk to the Paradise Garden, is heard separately in concerts and has been recorded many times, lasting approximately 9 minutes. Arranged for advanced bands for the first time, the original key is retained and the Harp part shared between vibraphone and glockenspiel.

String Quartet String Quartet - Level 2 - Digital Download SKU: A0.798110 By Luiz Gonzaga. By Joao Leocadio Da Silva and Luiz Gonzaga Do Nascimento. Arranged by Inacio Saldanha. Contemporary. Score and parts. 9 pages. Inacio Saldanha #5210673. Published by Inacio Saldanha (A0.798110). Pagode Russo is configured as a song in a happy tone typical of Northeastern festivities. When announcing the famous Cossack dance, the music ends up showing the Pernambuco frevo, pointing to one of the main similarities between the two dances: the juggling jumps or the falls don't fall. It therefore addresses the cultural approaches between different peoples. In this way, we understand that lyrics (verbal aspect) and music (melodic aspect) are worked in order to reinforce the meaning of each other. Both emphasize the modalization of a / doing / and express the joy and euphoria of an enunciating subject in line with his values, in this case, the cultural values ​​of his people, his land. (Text of Líllian da Cruz Régis and Maria de Fátima B. de Mesquita Batista¹)Arranged for String Quartet. Key of G minor. Early intermediate.¹Source: (http://www.sbpcnet.org.br/livro/64ra/resumos/resumos/7269.htm)

Full Orchestra - Level 5 - Digital Download SKU: A0.886728 Composed by Panagiotis Theodossiou. Concert,Contemporary,Standards. Score and parts. 157 pages. Panagiotis Theodossiou #5753415. Published by Panagiotis Theodossiou (A0.886728). Work written in 2018 a thesis for composer's postgraduate studies in Musical Department of Ionian University (Composition for Vocal and Instrumental Ensembles). It is based on the, under the same title ('Premonition'), poem by the 19th century British-Canadian poet Robert William Service (1874 - 1958). Point of departure is the eternal conflict between light and darkness, hope and despair, vision and nightmare, spiritual formation and inner confusion, being together and being apart, past and future, life and death. Leading by love (eros), a series of sudden thoughts and premonitions and the composer's inner visions on Service's text is a vehicle, a canvas for this composition. It follows a multilanguage style between serial-atonal and tonal idiom. It consists of an introduction which is repeated variated at the end as an epilogue and nine variations, each of a different character - independent but following one another without a pause: 1. Introduction, Sudden Thoughts (Severo) 2. Var.I. Towards the Light (Lento ambiamente) 3. Var.II.Nightmare - Shadows' Chase (Allegro deciso) 4. Var.III. Hope (Lento mystico) 5. Var.IV. Moonlight Wandering (Valse noire) (Poco piu mosso) 6. Var.V.Vision i, An Imaginary Procession (L' istesso tempo) 7.Var.VI.Vision ii, Butterflies - An Unexpected Love Affair (Valse d'amour) (Allegro) 8.Var.VΙI. Depression and Relief (Illusion) (Grave) 9.Var.VIII. Contemplation Waltz (Passacaglia) (Con moto) 10.Var.IΧ. Confusion - A Broken Heart (Moderato) 11. Finale. Last Thought (Tempo primo)

Piano Solo - Level 5 - Digital Download SKU: A0.862572 Composed by Michael Bomier. 20th Century,Contemporary,Instructional. Score. 9 pages. Michael Butkus-Bomier #433515. Published by Michael Butkus-Bomier (A0.862572). 2015 Piano Contest The third movement is a scherzo in 6/8 time of just under 5 mins duration. It consists of brief chordal statements followed by two-part counterpoint using all the topographical, contrary-motion symmetry available. C# min and Ab Maj are two keys which lend themselves to topographical symmetry, since they both have four black keys in use. Advanced level at tempo, slower makes it a bit more palatable for an intermediate player. ALL fingerings are mirrored, and indicated for both hands in between the treble and bass clefs.The sections move between C# min, E major, and C # Major. All chords are fully mirrored as well. MP3 MIDI audio. MBB.

Soprano voice,Vocal Solo - Level 5 - Digital Download SKU: A0.938913 Composed by Elissa Brill Pashkin. Concert,Contemporary. 23 pages. Elissa Brill Pashkin #73895. Published by Elissa Brill Pashkin (A0.938913). NOTE: This piano/vocal score is included as part of the full score package of this piece. It is not necessary to purchase it separately if you are buying the score and parts already. Halevi Songs is a 3-movement song cycle, composed in 2002. It is a setting of three poems (in English translation of the original Hebrew) of Judah Halevi, who was a Jewish scholar and poet who lived in Spain in the Middle Ages. The three movements are I. The Mirror, II. Do the Tears Know?, and III. Calm After the Storm. Each is just under three minutes. The total duration of the piece is between 8.5 and 9 minutes. The audio clip is from the third movement, in a performance of the sextet version of this piece. A complete recording is available upon request from the composer at ebrill@hcc.edu. The performers are Dianne Smith (soprano), Janet Polvino (flute), Isabelle Boggs (clarinet), Bob Ferrier (guitar), Craig Bitterman (percussion), and Joyce Crouch (piano). It may be performed with just piano accompaniment as well. Composer's Notes: The translation of the first poem, The Mirror, is by the 19th century American poet Emma Lazarus, most famous for her familiar words engraved on the Statue of Liberty: Give me your tired, your poorâ?¦ There has been some interesting academic discussion concerning this poem. It is generally attributed to Halevi, but some scholars now believe it may have been written by someone else. (I have also seen the translation attributed to someone else.) The second poem, Do the Tears Know? was originally a tombstone inscription for one of Haleviâ??s friends. This setting was written to honor my father, Harold Allan Brill, who passed away in January, 2000. The third poem, Calm After the Storm, is actually the second half of a longer poem about a sea voyage. The three songs are meant to be performed continuously, without a break in between. Licensed by BMI.

Instrumental Duet Instrumental Duet,Viola,Violin - Level 4 - Digital Download SKU: A0.1128161 By Queen. By Freddie Mercury. Arranged by Krista Broadway Swider. Rock. Score and parts. 9 pages. Krista Swider #728777. Published by Krista Swider (A0.1128161). This arrangement for violin and viola duo is set in the same key as the original song. The intro begins at a slower tempo (quarter note equals 94) with legato arpeggiated eighth notes and chords in the viola. These imitate Freddie Mercury's piano accompaniment while the violin plays the lyrical vocal melody. A quick tempo change (notated according to Queen's recording of the piece, at quarter note equals 144) sets up the first full verse and chorus for a raucous good time with driving chords in the accompaniment and the upbeat vocal line traded off between instruments. In Queen's recording, Don't Stop Me is sung/chanted with drums emphasizing off beats in the bridge. This arrangement emulates Queen's original bridge with accented eighth notes and the sing song melody traded between violin and viola. Each instrument gets a stab at the following electric guitar riff while the other plays edgy chords as backup. After a recap of verse and chorus, the song returns to the original slower tempo and the parts instruct the players to fade out. Parts and score are bowed.

String Quartet String Quartet - Level 4 - Digital Download SKU: A0.938385 Composed by Colin Bayliss. 20th Century,Contemporary. Score and parts. 33 pages. Colin Bayliss #6135. Published by Colin Bayliss (A0.938385). This work was written between January and March 1997. It has thirteen short continuous movements, one for each note of the tone row and a resolution of the row into an adagio movement in C major. The movements are written in a time signature beginning with one beat to a bar and ending in 13 beats to a bar until the final section of the last movement. The number of bars for each movement is in multiples of 13, then 14 and onwards to 25. The harmonic language is dictated by the combinations of notes in the original row combining with a row with its inversions and retrogrades begun from the first note of each new section. The sections may be briefly summarised as follows:- 1. Adagio A basic statement of the row with its inversion and retrograde 2. Con brio A rhythmic miniature scherzo and trio 3. Allegretto Dynamic contrasts using pizzicato and glissando 4. Andante piacevole e mesto Aduet between the violins with accompaniment from the viola and 'cello 5. Agitato An atmospheric spiccato section interrupted by foot-stamping 6. Andante languido A barcarolle-like section with passages of col legno 7. Allegro A rhythmic section contrasted by passages in harmonics 8. Tempo di tango presto The tango is apt to slip into many of the composer's pieces, even where nominally 12-tone, and is never remotely serious! 9. Andante pastorale Another atmospheric section but more relaxed 10. Allegro molto A scherzando section using rhythmic retrogrades 11. Allegretto The music begins to pull into feeling of tonality around C 12. Allegro moderato This process continues with tremolandi and glissandi searching for the way to a diatonic C major 13. Molto adagio - adagietto The last traces of atonality are wiped away and the work ends in an unashamed sense of quiet triumph The Score and Parts are available on this site as separate downloads The sound sample is the second movement - performed by the Lochrian Ensemble The complete 6 string quartets performed by the Lochrian Ensemble are available on itunes: see: http://www.dwsolo.com/colinbayliss/ For this 4th quartet see: https://itunes.apple.com/us/album/colin-bayliss-string-quartet/id585288847.