String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1082585 By Alicia Keys. By Alicia J Augello Cook, Brandon Aly, Dave Cuncio, Edie Brickell, John Houser, Josh Bush, Kenneth Withrow, Latisha Hyman, Mark Batson, and Rakim Mayers. Arranged by T R Bailey. Hip-Hop,Pop,R & B,Wedding. Score and parts. 19 pages. T R Bailey #686780. Published by T R Bailey (A0.1082585). Arranged by request for a wedding ceremony. Score and parts, 19 pages total.

Violin Solo - Level 3 - Digital Download SKU: A0.766176 Composed by Brandon Aly, Edie Brickell, John Bush, John Houser, and Kenneth Withrow. Arranged by Jorge Juárez. Contemporary. 4 pages. Georgie Guitar #5373951. Published by Georgie Guitar (A0.766176). An accurate note for note transcription of the vocals to be played Instrumental on Violin.

Tenor Saxophone Solo - Level 3 - Digital Download SKU: A0.766175 Composed by Brandon Aly, Edie Brickell, John Bush, John Houser, and Kenneth Withrow. Arranged by Jorge Juárez. Contemporary. Individual part. 4 pages. Georgie Guitar #5373949. Published by Georgie Guitar (A0.766175). An accurate note for note transcription of the vocals to be played Instrumental on Tenor Sax.

Alto Saxophone Solo - Level 3 - Digital Download SKU: A0.766174 Composed by Brandon Aly, Edie Brickell, John Bush, John Houser, and Kenneth Withrow. Arranged by Jorge Juárez. Contemporary. Individual part. 4 pages. Georgie Guitar #5373947. Published by Georgie Guitar (A0.766174). An accurate note for note transcription of the vocals to be played Instrumental on Alto Sax.

Instrumental Solo,Saxophone - Level 5 - Digital Download SKU: A0.1202307 Composed by Brandon Nelson. 20th Century,Chamber,Christian,Classical,Contemporary. Individual part. 11 pages. Brandon Nelson #800991. Published by Brandon Nelson (A0.1202307). Dr. Brian Kauth assembled a consortium of saxophone players to commission me to write a piece in four movements, each to be for a different member of the saxophone family(soprano, alto, tenor, baritone). He chose the theme of the “four horsemen of the apocalypse� because, as he puts it, “the saxophone was long considered ‘the devil’s instrument’due to the seedy and sultry qualities associated with it.�ProgramThe story of the Four Horsemen comes from the biblical Book of Revelation. Each of the Horsemen is said to represent events that are supposed to usher in the Apocalypse, the final battle between good and evil. As with many biblical passages, there are numerous interpretations of this account debated among theologians. Those that I’ve taken in thispiece are strictly based on my own aesthetic requirements and should not be construed as taking any particular sides in these spiritual debates.The Four Horsemen symbolize the evils to come before the end of the world. It is said that a quarter of the world’s population is to be wiped out by a combination of these ills. The Horsemen pave the way for the finalbattle, the final judgement, and the Second Coming.The account begins with the White Horsemen, symbolizing pestilence. Next comes the Red Horse, representing war. Then the Black Horse, bringing widespread famine, especially against the poor of the world.Finally, the Pallid Horse, the personification of Death, reaping his reward in the victims of the tribulations.Performance NoteEach movement is assigned a different member of the saxophone family. Ideally it should be performed as such. However, if you do not have access to all four saxes, you may perform the movements on the sax or saxesof your choosing. The movements are written such that they will sound satisfactory on any of the saxes.

Digital Download SKU: A0.1071422 Composed by Liam A. Piper-Brandon. Contemporary,World. Full Performance. Duration 307. Liam A Piper-Brandon #2881195. Published by Liam A Piper-Brandon (A0.1071422). This is also known as my first symphony. I had written this in the ambition to get placed as a finalist in the Young Composers challenge for 2016. This song is based around the phrase Cry Havoc and let slip the dogs of war a phrase going back to the time of William Shakespeare's play. Julius Caesar. In the scene, Mark Antony is alone with Julius Caesar's body, shortly after Caesar's assassination. In a soliloquy, he reveals his intention to incite the crowd at Caesar's funeral to rise up against the assassins. Foreseeing violence throughout Italy, Antony even imagines Caesar's spirit joining in the exhortations: ranging for revenge, with Ate by his side come hot from hell, shall in these confines with a Monarch's voice cry Havok! and let slip the dogs of war. The song is split into split into 3 parts, the intro, the march to war, and the VictoryThis song is 5 minutes and 5 seconds long, and is appropriate for schools and studentsIf you have any questions, please email me at Liampb1998@gmail.com or 2ndHanover@gmail.com

Full Orchestra - Level 4 - Digital Download SKU: A0.1031068 Composed by Liam A. Piper-Brandon. Contemporary,World. Score and parts. 10 pages. Liam A Piper-Brandon #2881197. Published by Liam A Piper-Brandon (A0.1031068). This is also known as my first symphony. I had written this in the ambition to get placed as a finalist in the Young Composers challenge for 2016. This song is based around the phrase Cry Havoc and let slip the dogs of war a phrase going back to the time of William Shakespeare's play. Julius Caesar. In the scene, Mark Antony is alone with Julius Caesar's body, shortly after Caesar's assassination. In a soliloquy, he reveals his intention to incite the crowd at Caesar's funeral to rise up against the assassins. Foreseeing violence throughout Italy, Antony even imagines Caesar's spirit joining in the exhortations: ranging for revenge, with Ate by his side come hot from hell, shall in these confines with a Monarch's voice cry Havok! and let slip the dogs of war. The song is split into split into 3 parts, the intro, the march to war, and the VictoryThis song is 5 minutes and 5 seconds long, and is appropriate for schools and studentsIf you have any questions, please email me at Liampb1998@gmail.com or 2ndHanover@gmail.com

Bass Guitar - Level 4 - Digital Download SKU: A0.1190152 By Latto With Lu Kala. By Alyssa Stephens, Brandon Benjamin, Gamal Lewis, Lauren Grieve, Lukasz Gottwald, Randall Hammers, Rocco Valdes, Steph Jones, and Vanessa Lusamba Kalala. Arranged by David Lartey. Disco,Hip-Hop,Pop. Score. 3 pages. David Lartey #789772. Published by David Lartey (A0.1190152).

Piano Solo - Level 2 - Digital Download SKU: A0.1193510 By Latto With Lu Kala. By Alyssa Stephens, Brandon Benjamin, Gamal Lewis, Lauren Grieve, Lukasz Gottwald, Randall Hammers, Rocco Valdes, Steph Jones, and Vanessa Lusamba Kalala. Arranged by Eskander Aceval. Disco,Pop. Score. 4 pages. Eskander Aceval #792976. Published by Eskander Aceval (A0.1193510). Latto - Lottery chords, piano. Original key & tempo featuring Lu Kala.

Tenor Saxophone Solo - Level 4 - Digital Download SKU: A0.912905 Composed by Brandon Nelson. Concert,Contemporary. Individual part. 6 pages. Brandon Nelson #1954833. Published by Brandon Nelson (A0.912905). According to Homer (Odyssey iv:412), the sandy island of Pharos, situated off the coast of the Nile delta, was the home of Proteus, the old god of the sea. In the Odyssey, Menelaus relates to Telemachus that he had been becalmed here on his journey home from the Trojan War. He learned from Proteus’ daughter Eidothea that if he could capture her father, he could force him to reveal which of the gods he had offended and how he could propitiate them and return home. Proteus emerged from the sea to sleep among his colony of seals, but Menelaus was successful in holding him, though Proteus took the forms of a lion, a serpent, a leopard, a pig, even of water or a tree. Proteus then answered truthfully, further informing Menelaus that his brother Agamemnon had been murdered on his return home, that Ajax the Lesser had been shipwrecked and killed, and that Odysseus was stranded on Calypso’s Isle Ogygia. This piece, for solo tenor sax, illustrates that mighty conflict between Menelaus and Proteus. Each movement illustrates a different form the god took in his attempt to evade sharing his knowledge. Composition The rhythmic motives are based on the ancient Greek poetic meters. I translated these patterns of long and short sounds to musical notation (using the sixteenth note as the basic unit). I randomized the order and deployed the resulting phrase as a sort of idee fixe. Each movement uses this rhythmic idea beginning at a different point. The melodic content is based on a pentatonic set and its permutations, primarily its modes. I arrayed these pitches into a grid (not unlike the matrix used in dodecaphonic music) and assigned pitches to the rhythmic motives using differing deployment schemes (rotation, chaining, etc). Learn more about me: bnelsonmusic.wordpress.com.

Chamber Orchestra - Level 3 - Digital Download SKU: A0.755164 Composed by Sy Brandon. 20th Century,Christmas,Contemporary,Sacred. Score and parts. 31 pages. Sy Brandon #3408901. Published by Sy Brandon (A0.755164). A carol for the Christmas season on a text by the composer has a slight Calypso rhythmic feel with rich harmony. The price includes permission to duplicate vocal and string parts as needed for rehearsal and performance.

Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1103534 By Corinne Byrne, soprano and Seth Mayer, piano. By George Edward Brandon. 20th Century,Classical,Contemporary. Score. 21 pages. Blue Unity Music #706801. Published by Blue Unity Music (A0.1103534). George Brandon: Two Dream Poems (2020) for Soprano and Piano This piece consists of musical settings of two 20th century poems concerning the dream state: one by the American poet Gary Snyder; the other by Mavash Sabet from Iran. Gary Snyder’s poem, “Maudgalyayana Saw Hell�, is a complex and multilayered portrayal of a passage through the dream state, beginning with falling asleep and ending with waking up. At the same time as it describes a mythical journey and an inward psychological journey, it also presents a Buddhist metaphysical perspective in which the whole of life, and our ordinary sense of reality, appear and are questioned as dream states as well. At the time that Mavash Sabet wrote her poem “Hello Again� she was a political prisoner sentenced to twenty years in prison for her religious and educational activities. on behalf of the Bahai faith, a religion which is persecuted by Iran's theocratic government. “Hello Again�, from her book Prison Poems, describes a dream experience that renewed her inner sense of freedom despite being incarcerated, and provided her with strength and hope for the future. Complex but singable, intense and lyrical, these compelling songs will make a great impact in a concert or recital program. Duration: approximately 9 mins. Advanced.