Piano Solo - Level 4 - Digital Download

SKU: A0.1425889

By Damien Gauci. By Damien Gauci. Contemporary,New Age. Score. 52 pages. Damien Gauci #1006655. Published by Damien Gauci (A0.1425889).

This is the second album that I have released and it is another soft piano album. Ever since I published my first album ‘Sunday’ I have been wanting to write another one because I enjoyed writing the first one so much. I wanted to write even better pieces than the first one as well as a couple more pieces too. When thinking about a theme for this album, I decided to go for the season of summer and write music that reminds me of summer such as the warm breeze, the fragrance of the trees and flowers, and the sparkle of the sun on the water.

In a lot of the pieces in this album, I explored the line between the ambient and melodic world with some pieces featuring a strong melody while others cycle through a chord progression in a certain pattern. This is something that I like to explore in a lot of my music as I think a melody is a great way to make a piece of music memorable but I also find that less melodically driven pieces still have their place in telling a story or setting a mood.

So, if you are listening to this album or learning it, I hope that you find each piece enjoyable and that there is one that sticks out to you as your favourite. My intention is for you to listen to them while you drive, study, work, or have a rest or do anything else to make those moments a little more enjoyable and special. Thanks very much for taking the time to check out this album!

Piano Solo - Level 1 - Digital Download

SKU: A0.1031280

Composed by Adam R. Hass. Arranged by Adam R. Hass. Concert,Instructional,Standards. Score. 4 pages. Adam R. Hass #6073933. Published by Adam R. Hass (A0.1031280).

     This is my first original composition with PDF sheet music upload.  The piece is a beginner's level variation on my theme, Changing Seasons, which I composed originally in October of 2008.  Eventually this piece will be published for a large ensemble but for now, I am sticking with humble beginings. 
     This version of the song is meant to serve as an etude for piano.  The song is a fun study of arpeggiation, intriguing chordal movement including secondary dominants, repeats with 1st and 2nd endings, classic piano technique, dexterity, and a small homage to Pachelbel's Canon (although not in D, in this case.)  This etude is written in the key of C Major for ease of learning's sake.  The original composition was written in the key of D Major.  
     I used PreSonus' Notion 6 for this project.  However, I ran into a plethora of difficulties when I transferred the file over to PDF format.  Some text was lost as well as the majority of all my performance and technique notes in the score.  I will try to correct this ASAP and get the score reloaded.  I really just need to get something posted on here because I AM a composer and I have never actually shared a composition in musical score form for others to purchase, play or peruse.  This is my first ever.  I hope whoever selects this piece enjoys it and might offer some constructive criticism or insight.  Have fun! 
(Note, the piece is intended to be played at approximately 120 bpm but I encourage playing it slowly several times at first to figure out a way through the printing errors for now).

Oboe,Piano - Level 3 - Digital Download

SKU: A0.749237

By Bob Dylan. By Bob Dylan. Arranged by HELEN MARPLE-HORVAT. Pop. Score and part. 25 pages. Helen Marple-Horvat #6139947. Published by Helen Marple-Horvat (A0.749237).

Https://www.youtube.com/watch?v=JvQMUMBLDgU

British singer-songwriter Adele recorded Make You Feel My Love for her debut studio album 19, in 2008. As it is such a popular hit I was surprised to find that the original was by Bob Dylan, from the album ‘Time out of Mind’ from 1997, and also that it has been covered many times by different artists.

Why choose my arrangement?

I have arranged the piano part to follow the original very closely, transposed into G Major, a great key for the oboe. It is the best I can do because I also want to be able to play it in gigs with my daughter who is a singer. As such I have made the piano part to lie under the fingers, making sure the clefs are easy to read.

Some of the harmony is slightly changed, and I composed my own bridge passage with hints at the original. Also Adele sings a quite dissonant G in the melody, against the F sharps in some of the verses. Personally I love this, but it would need to be played subtly, and the clash is less obvious in the less dense sonority of a vocal part, so I have left this option open by notating the safer version, and suggesting the dissonance rather than the other way around. On the video is an example of both.

I also include a bonus ‘Easy Oboe’ Part that younger players will enjoy, or perhaps pupils of those who buy the professional level arrangement. I have also enclosed a ‘piano only’ score as it falls onto three pages and is convenient for performing, as well as the two piano scores with each oboe version.

Adele sings the original at 72 bpm but I think you could certainly go as high as 76 bpm without losing that mournful quality, and it will help young players with their breathing.

My Youtube Channel has many arrangements for String Quartet, recorded by Capriccio Quartet, plus an arrangement of Downton Abbey for Oboe and Piano available from Sheet Music Plus. Please visit me there - Helen Marple-Horvat, Songwriter, Arranger, Composer

Choral Choir (SATB) - Level 3 - Digital Download

SKU: A0.1262362

Composed by Sally Whitwell. 21st Century,Contemporary. Octavo. 17 pages. Sally Whitwell #855402. Published by Sally Whitwell (A0.1262362).

On the morning of 2 March 2020, I finished writing the first draft of this song. It was the same morning that the New South Wales Rural Fire Service announced that for the first time since July 2019, the state was free of active bush and grass fires.

At the time it felt quite euphoric. We’d been through a lot. Little did we know what was coming just a few days from then, when the Covid19 global pandemic reached our shores. It’s a virus that would kill millions across the world, and disable millions more, long term. It forced us, globally, into a kind of reckoning the like of which we had never experienced before. Non pharmaceutical controls like lockdowns, mask mandates, social distancing and ventilation standards were employed to keep us safe from this airborne virus, whilst scientists worked round clock to develop vaccines and treatments.

Technically, the declaration of a pandemic is still active, but governments and people have somehow decided for themselves that it is all over. No one takes any precautions any more. Governments have stopped reporting statistics. People who know they are infected are going about their business with no thought for others. Meanwhile, many of the immune-compromised, the disabled, the vulnerable, are unable to safely leave their homes and engage in activities out in the world. I know this, because I am a carer for a vulnerable person.

What this whole exercise has taught me is that people in the world are actually much less kind than I thought they were. Humans do not really care for each other. People attack me for wearing a mask, tell me that I’m virtue signalling and that I look ridiculous (as if I care how I look). I’ve asked questions about workplace Covid safety and been informed that it’s “a bit rich� that I’m asking at all, when everything is now safe. A friend’s diagnosed Long Covid symptoms were cruelly minimised or completely dismissed “Oh, it’s not Covid. How old are you? In your forties? It’s your hormones, it’s the menopause.� The fatal combination of sheer selfishness, rampant misinformation and DISinformation continues, whilst people waltz around spreading a deadly virus with no thought for the grief that will undoubtedly ensue.

It boils down to this: if we want to continue as a species and to have a planet on which to reside, we have to stop with the Self Care and start with the Community Care. A choir is the perfect instrument for expressing these notions, through the unique power of the massed first person plural. My wish for this piece is that it spurs performer and listener alike into some kind of action. Please consider the effect your actions have on others, and on the planet, and make any changes necessary, however inconvenient or difficult they are. Otherwise, there’s really no point.

Sally Whitwell 11 July 2023.

Concert Band - Digital Download

SKU: A0.495192

Composed by Moises Mendoza. Contemporary. Score and parts. 67 pages. Published by Moises Mendoza (A0.495192).

I composed this piece because I wanted to get myself used to composing for large ensembles, wind ensemble particularly. This composition took the most time and energy in creating the biggest work I have taken on thus far. This piece allowed me to get a better insight of my creativity as well as incorporate the lessons I have learned from my music professors. The experience was well worth it for I now know what I am capable of in my compositions and I look forward to working on more works in large ensembles in the future. During the time I composed this piece, I was expecting to have it performed around April 2020. However, that was around the time when COVID started spreading around the world and so that experience was lost to me. I hope someday it will be performed under better days.

Choral Choir (SATB) - Level 5 - Digital Download

SKU: A0.1074352

Composed by Stanley M Hoffman. Classical,Contemporary. Octavo. 32 pages. Stanleymhoffman.com #678653. Published by stanleymhoffman.com (A0.1074352).

PROGRAM NOTES As of the present writing, this choral tone poem had been gestating for over thirty years, and the concept and harmonies for it for over forty years. In the 1980s I began to work with the latter two in my brief orchestral piece Little Sea Nocturne. When reading the poetry of Edgar Allan Poe (1809–1849), I am most struck by how musical they are. When recited aloud they exhibit their own rhythmic sense. I was eager to incorporate those rhythms into my music. I had long been familiar with his poem The City In the Sea and began to sketch choral passages for the present choral tone poem in the 1990s. It took me until 2022 to complete it because I required many more years of experience at my craft to do so to lead into out of the choruses. In 2012 I completed a seven-minute unaccompanied version of the choruses with music unique to and unifying it simply called The City In the Sea. In composing The City In the Sea - Choral Tone Poem, my goal was to write a piece that, while steeped in tradition, sounds unlike anything in the literature that had come before it. The result is an original hybrid work that successfully and memorably combines salient aspects of the tonal, atonal, and modal musical languages into an organic whole. George Perle coined the term “twelve-tone tonality� to describe the music of Alban Berg and composers influenced by him such as Luigi Dallapiccola. The last title of which I am aware that accomplishes anything remotely related to what I am trying to accomplish musically in this choral tone poem is the piece Paradiso Choruses by Donald Martino (1974). However, I take twelve-tone tonality in entirely other directions in my work. That the duration of The City In the Sea - Choral Tone Poem came out to be thirteen minutes seems appropriate for piece about a sunken city. Rather than write program notes that narrate how the music unfolds I will simply shout out the most memorable aspects of what careful listeners will discern: a recurring heartbeat motif; shifting polychordal harmonies; echo technique; rhythmic diminutions and augmentations; an a cappella chorus featuring those harmonies with a surprisingly memorable recuring theme on top; sensuous flute duets; string section underpinnings by way of either sustained passages or wave-like gestures; tritone-related melodies, harmonies, and tone centers; several strategically placed grand pauses; tritone-related modal-sounding passages; melodic and chord clusters, especially the two climactic ones. INSTRUMENTATION 2 Flutes (2. doubles on Piccolo) 2 Oboes (2. doubles on English Horn) 2 Bb Clarinets 2 Bassoons 2 F Horns 2 C Trumpets 2 Trombones Tuba Timpani Percussion (Gong, Bass Drum, Chimes, Glockenspiel) Harp Strings DURATION 13:00 Stanley M. Hoffman (b. 1959) For biographical information visit: www.stanleymhoffman.com.

Piano Solo - Level 3 - Digital Download

SKU: A0.976834

Composed by Monica Bergo. Children,Christmas,Spiritual. Score. 4 pages. Monica Bergo #3235417. Published by Monica Bergo (A0.976834).

2017 Holiday Contest Entry

  AN ANGEL HIPPIE

It was there
abandoned
sad
not fly more
Around us
mud and horror
If you seek love there is not...
Come here,
close to me,
you're scared , I know,
here the faith will not save you
But you can fly away
I do not understand why
dirty your beautiful colors down here .
I'm here is because I was looking for you ,
just here where it all began
I'm here to appease the evil
that Christmas gives birth to you....

Search , search in the past
face  everything that has been
destroy all ghosts
Defeat your fears
remove
dark areas
walk all the way
returns, with me close ,
at that time
now passed ,
are you ready?
now we fly
you and I.

Around us
screams and greyness
Tell me where is the love ...
you feel it too ?
Today is Christmas
but here there is no peace
away from here, away from here
I want my reality
I open my eyes
and you are not there more
as I try to grab
your memory that disappears
in my hands I have your feather…..

Monica Bergo

                           

Easy Piano - Level 3 - Digital Download

SKU: A0.1110129

Composed by Alex Lewis. Classical,Contemporary. Score. 3 pages. Houston-Piano Studio #712463. Published by Houston-Piano Studio (A0.1110129).

This next part is copy and pasted from my blog: My inspiration for The pianist's Wind Chimes came mainly from Philip Glass. The Philip Glass Etudes are kind of short, but I've been listening to them recently. They are somewhat profound even though they are brief and not that advanced. Of course a piece does not have to be long or hard to be profound. The Minimalist style is a great way for beginner and intermediate piano students to sound excellent at piano recitals. I usually don't think about the title of a piece first. The title came to me as I was working on it. Funnily enough, the title might be the worst part of this piece. I only used the name The Pianist's Wind Chimes because I thought it was a cool name (ha ha ha!). In the middle of The Pianist's Wind Chimes, there is a reference to Beethoven's Fur Elise. The famous first two measures of Fur Elise were part of my inspiration. The notes are sort of different. I didn't want to copy Fur Elise completely. But I did want to make the reference obvious enough. I do wander how many people will recognize the reference. I hope most of them will. If you want to read the full blog, then click the following link: https://thecoolalexlewis.blogspot.com/2021/02/hey-everybody.html.

Choral Choir (SATB) - Level 4 - Digital Download

SKU: A0.701680

Composed by Kevin G. Pace (ASCAP), Mary Ann Snowball. Children,Christian,Praise & Worship,Sacred. Octavo. 2 pages. Kevin G. Pace #3245683. Published by Kevin G. Pace (A0.701680).

An original hymn about the Lord's plan of happiness. Text by Mary Ann Snowball below.
YouTube video: https://youtu.be/JTQGPXLNB-0

Our Heavenly Father had a plan

Before I came to earth.

My spirit lived with Him in heaven

While waiting for my birth.

 

Because I chose our Father’s plan

I earned my body there.

I came into my family

On earth to learn and share.

 

And when I die, I’ll live again

In a heavenly place.

My resurrection’s plainly sure;

I’ll see my Savior’s face.

 

This is the greatest plan I know

That shows our Father’s love.

I will live righteously and well

To be with Him above.

Piano Solo - Level 3 - Digital Download

SKU: A0.1459635

By Billy Dean. By Billy Dean and Richard Leigh. Arranged by James Michael Stevens. Contemporary,Country,Film/TV,Pop,Singer/Songwriter. Score. 4 pages. James M Stevens Music ASCAP #1038590. Published by James M Stevens Music ASCAP (A0.1459635).

Written June 16, 2024, this is an original piano arrangement of the song by Billy Dean, “Somewhere in My Broken Heart” (originally released by Randy Travis and later as a single by Dean). Interestingly, the year before this song was released in 1990, Billy Dean called me and ask about my considering playing piano for him on tour in his band. He was one of the most kind and gracious people I have ever spoken to. At the time I wasn’t as familiar with his music, but after speaking with him I found out he had the number one country video in the country and the next year he released this song which was the CMA Song of the Year. It is a great song I’ve always loved and always wanted to play, so this week I did. BTW, the reason I didn’t was because I was working in a church and wouldn’t be free to travel. Looking back I wish I had. Hope you enjoy it.

Piano Solo - Level 5 - Digital Download

SKU: A0.744622

Composed by J.S. Bach / Elena Fortin. 20th Century,Classical,Contemporary,Romantic Period. Score. 5 pages. Elena Fortin #4717613. Published by Elena Fortin (A0.744622).

Winter Storm

Years ago, I played the Bach Prelude in C Minor (BMV 999) in the RCM books. It can now be found in the Level 6 Repertoire Book of the Celebration Series by the Royal Conservatory of Music. As a creative challenge, I thought to myself: What would happen if I took the Prelude, and put it ALL in the left hand. And what would happen if some furious diva decided to play a melody over the top of this prelude?

This piece is the result: a fantastic, Chopinesque remix of JS Bach. I stayed true to the Prelude wherever possible, sticking to the glorious harmonies that were explored by his genius. The melody came out stormy–and since I live in Canada, it became the perfect title. Winter Storm.

The piece is challenging as a solo recital piece, but well-worth learning if you are a fan of Bach and Chopin. The left hand never stops–and has some challenging leaps and booming bass notes. The right hand is challenged with odd rhythmic subdivisions, 3’s against 2’s being one of my favourites, as well as a challenging 11 against 4 flurry of notes. Further challenges include a RH double note pattern at the end, trills, and ornaments. If you want an extra challenge, you could always play it faster–my speed in the video is conservative, only because I was trying to make sure I got the correct notes!  

Please visit my website: www.the-piano-studio.com to check out what I'm up to. If you would like to keep up to date with my work, please subscribe to my YouTube Channel here: https://www.youtube.com/channel/UCFOzbMUgcFWlmG-nfHOT_Zg

Piano Solo - Level 4 - Digital Download

SKU: A0.1131811

Composed by Dalva R. R. Barbosa. Film/TV,Pop,Rock. Score. 6 pages. Dalva Regina Ribeiro Barbosa #732042. Published by Dalva Regina Ribeiro Barbosa (A0.1131811).

Everybody Deserves Somebody to Love is a musical story in which two characters, who work together, are at a joyful party, with lots of dancing and drinking. Both are in love with each other but social, family, and professional issues prevent them from getting together. However, one of the characters absorbed by the joy of the party (too much to drink, maybe) decides to insist in the relationship. The other character is hesitant and afraid to face such challenge. At the end of the song they decide to take the chance. The piece is structured in a rondó form with the following parts that I called: Introduction (I); A; B; C; I; A; D; A; C; I; A. Imagine a rock and habanera cake with Scarlatti syrup. The layers are: A: An invitation. They say phrases like: “Come to me because I need you now�. B: Expression of pure desire with phrases such as: Hey! I can �t control myself now. B could be called A’. C: In a syncopated rhythm is argumentation. One party is trying to convince the other about assuming their relationship singing like that: “Everybody deserves somebody to love. I can help you to carry on. Just give your life a second chance�. D: Is a moment of reflection. One of the characters is at greater risk and says: I´m afraid, love hurts sometimes. It won´t be so easy to start a new life now.�.

Piano Solo - Level 4 - Digital Download

SKU: A0.869870

Composed by Thomas Oboe Lee. 20th Century,Contemporary. Score. 29 pages. Thomas Oboe Lee #6633069. Published by Thomas Oboe Lee (A0.869870).

I was very taken by Ferruccio Busoni’s transcription of J.S. Bach’s Chorale Preludes for organ. I am not familiar with the original version mainly because I don’t enjoy listening to organ music; except when it is in a jazz context, like Jimmy Smith and Joey DeFrancesco.

Using Busoni’s version as a model I re-did all nine of his Bach Chorale Preludes in my fashion and then I realized that I needed three more to make a nice simple dozen.  So I looked at Max Reger’s transcriptions of the Bach Chorale Preludes and found three that would fit into my twelve-movement work.

I. Andante … Komm, Gott Schöpfer, heiliger Geist

II. Adagio … Wachet aufm ruft uns die Stimme

III. Andante … Nun komm’ der Heiden Heiland

IV. Presto … Nun freut euch, lieben Christen, g’mein

V. Largo … Ich ruf’ zu dir, Herr Jesu Christ

VI. Moderato … Herr Gott, nun schleuß den Himmel auf

VII. Largo … Durch Adams Fall ist ganz verderbt

VIII. Allegro … In dir ist Freude

IX. Adagio … Jesus Christus, unser Heiland

X. Moderato … O Mensch, bewein’ dein’ Sünde groß

XI. Presto … Ach wie nichtig, ach wie flüchtig

XII. Largo … Christ lag in Todesbanden

Enjoy!!!

Piano Solo - Level 4 - Digital Download

SKU: A0.1010568

Composed by Hannah Heinz. Christian,Classical,Contemporary,Praise & Worship,Spiritual. Score. 4 pages. Hannah Puckett #3034073. Published by Hannah Puckett (A0.1010568).

Solo Piano Score - Intermediate

Embarking is infused with a lyrical melody that soars through the piece with grace.

The Composer's Story:

After packing and getting ready for a trip that would take me out of the country for the first time ever, I slowly passed the piano in the living room. Pausing, I sat down to play one more time before I departed. At that point, I did not know how many months or years it would be until I had the blessing of playing the piano again. Feeling the smooth keys, I started to play this melody. As I added in the arpeggiating left hand, this piece became the bittersweet goodbye at that point in my life. Leaving the instrument behind was not a final goodbye because I could take this melody with me in my heart.

Original composition from GraceWave Audio by Hannah Heinz.