Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1126313 Composed by Philip Le Bas. Christian,Christmas,Praise & Worship,Religious,Sacred. Score. 8 pages. Philip Le Bas #727017. Published by Philip Le Bas (A0.1126313). A new Christmas carol by Philip Le Bas for unison voices (with occasional divisi) and piano, setting the words of William Blake's poem A Cradle Song from his collection entitled Songs of Innocence. The very title of Blake's poem calls out for it to be set to music. Indeed the poem is a straightforward lullaby for the first few stanzas, sung softly by a mother over her sleeping baby, as she marvels at the wonder of this beautiful infant and expresses her love for the child. Her own anxieties and weeping for the child remind her of the Christ-child who also wept as a vulnerable baby. But as God incarnate he wept for me, for thee, for all, and brought peace to heaven and earth. (Blake uses the word beguile perhaps to indicate the paradoxical nature of a weeping God bringing redemption to a suffering world by becoming a vulnerable human baby himself.) The composition aims to avoid unnecessary complexity in the vocal parts, so that it can be sung easily particularly by a parish choir. However, it also attempts to capture some of the beauty, drama and mystery of the scene expressed by Blake. The piece begins and ends in stillness, and there are gentle climaxes here and there, reflecting some of the rise and fall of the poem's lyrics. It could be sung by a mixed or single-voice choir, but note should always be taken of the predominantly quiet dynamics of the piece, especially in the first half. https://www.sheetmusicdirect.com/en-US/se/ID_No/1216185/Product.aspx https://plbmusic.blogspot.com A Cradle Song from Songs of Innocence by William Blake (1757-1827) Sweet dreams, form a shade O'er my lovely infant's head! Sweet dreams of pleasant streams By happy, silent, moony beams! Sweet Sleep, with soft down Weave thy brows an infant crown! Sweet Sleep, angel mild, Hover o'er my happy child! Sweet smiles, in the night Hover over my delight! Sweet smiles, mother's smiles, All the livelong night beguiles. Sweet moans, dovelike sighs, Chase not slumber from thy eyes! Sweet moans, sweeter smiles, All the dovelike moans beguiles. Sleep, sleep, happy child! All creation slept and smiled. Sleep, sleep, happy sleep, While o'er thee thy mother weep. Sweet babe, in thy face Holy image I can trace; Sweet babe, once like thee Thy Maker lay, and wept for me: Wept for me, for thee, for all, When He was an infant small. Thou His image ever see, Heavenly face that smiles on thee! Smiles on thee, on me, on all, Who became an infant small; Infant smiles are His own smiles; Heaven and earth to peace beguiles.

C Instrument - Level 1 - Digital Download SKU: A0.1181217 By Yann Tiersen. By Yann Tiersen. Arranged by Fabio Eduardo de Oliveira. Classical,Film/TV. Lead Sheet / Fake Book. 2 pages. Fabio Eduardo #781055. Published by Fabio Eduardo (A0.1181217). FREE DOWNLOAD PLAYBACK https://www.fabioeduardomusiconline.com/freedownloadComptine D'un Autre Été: L'après Midi is considered one of Yann Tiersen's best piano compositions, from the album Amélie. These songs were the soundtrack for the French Academy Award winning motion picture film 'Le Fabuleux Destin d'Amélie Poulain. Yann Tierson is a noted French composer, most famous for Amélie. His music is mostly composed for piano, harpsichord, violin, and accordion. The animation is from Aniboom Animations, describing life as a song. The depiction is more on a meloncholy scale, describing the major climaxes of the life of an old man as his wife's death, his friend's death on the battlefield, and the rapture of his grandson.

Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar.  â€˜Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. Th.

Full Orchestra - Level 5 - Digital Download SKU: A0.533655 Composed by Carson Cooman. Contemporary. Score and parts. 39 pages. Musik Fabrik Music Publishing #3035627. Published by Musik Fabrik Music Publishing (A0.533655). Commissioned by and is dedicated to trombonist Haim Avitsur. Throughout the work, the trombone is placed into a variety of different musical contexts—sometimes with bleakness and sometimes with warmth. The work begins with the tubular bells alone, presenting the principal musical material of the work. The strings enter with a suspended tapestry, through which the trombone plays its opening melodies. In this section, the trombone has a cantorial role—singing and interacting with the orchestra. These opening musical ideas are developed as the trumpet, horn, and clarinet join the trombone in soloistic roles. A signal gesture on the trumpet is heard once, interrupting the tapestry. When the signal is heard again, the music accelerates into the second section. The second section is fast and bell-like as the trombone sings excited lines through ringing masses of sound. Whirring figurations emerge in the winds and are picked up by the strings. The sectiongrows wilder until it climaxes in hammer chords. From this, the trumpet, bells, and trombone emerge—maintaining and propelling the energy of thesection. Gradually, the energy is released, leading into the third section. The third section is chorale-like, combining again suspended sounds in the strings with harmonic motion in the winds in brass. The trombone again plays a cantorial role. A build up of energy occurs at the end of this section, leading into the fourth and final section—the cadenza. The trombone bursts into the cadenza, not with a forceful shout, but with a whisper. The work winds down to its conclusion—without a loss of speed or energy, but rather by the increase of silence. Instrumentation: 2111/1100/timp/1perc/soloTbn/strings The score by itself is available as another item. The parts are on rental from the publisher.

String Ensemble,String Trio Cello - Digital Download SKU: A0.1100245 Composed by Christian Morris. Contemporary,Rock. Score and parts. 25 pages. Hoopla Sheet Music #704118. Published by Hoopla Sheet Music (A0.1100245). Groove Study is a short and fun piece for three cellos. With a chopping bass line that gives it a grungy kinetic energy, it also has big melodies, big climaxes and a bunch of colourful extended playing techniques.

Tenor Saxophone Solo - Level 4 - Digital Download SKU: A0.839721 By Frank Sinatra. By Joe Raposo. Arranged by Bobby Hesch. Contemporary. Individual part. 5 pages. Bobby Hesch #6692051. Published by Bobby Hesch (A0.839721). IT'S NOT THAT EASY BEIN' GREEN!!! I LOVE TO PERFORM THIS CHART!!! PERFORMED BY FRANK SINATRA, VAN MORRISON, RAY CHARLES, JIM HENSON, & MANY MORE!!! MANY JAZZ GREATS!! LET'S PLAY SOME JAZZ!!! A SLOW BLUES WITH POWERFUL CLIMAXES!!!   A LOW VERSION STAYS IN THE STAFF AND A HIGH VERSION MORE ALTISSIMO NOTES!!! KEY OF G/Ab!!!  LOW Eb- HIGH G!!! MP3 FOR JAZZ STYLE & INTERPRETATION!!! CONTACT INFORMATION:bobbyhesch@yahoo.com : IG:@bobbyhesch E MAIL QUESTIONS, I CAN HELP!!! CHECK OUT THE LYRICS!!! COMPOSER JOE RAPOSO!!! 

Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.1234212 By Andy Williams. By Harry Warren and Mack Gordon. Arranged by John Yao. Instructional,Jazz,Standards. 89 pages. Yaotones Music #829743. Published by Yaotones Music (A0.1234212). This hard swinging, up tempo arrangement is written in the style of the Count Basie Orchestra.  It starts out small with a Piano solo and builds throughout with additional solos in the Trumpet, Tenor Sax, and Trombone. The chart features simple unisons and 4-way closed textures and reads straight down easily with plenty of challenging ensemble passages throughout.  There's a lot of sectional writing and moments when the brass and woodwinds oppose one another.  After a temporary modulation to a new key for the Trombone solo, the piece returns to the original, customary key of Eb Major.  Following the solos, the chart climaxes on a big, tutti shout chorus exchange with the drums and a final big chord.  This arrangement works great at the end a set or concert program or even as an opener.Trumpet Range - Db6Trombone Range - A4The YT Link track is performed by NYC based big band John Yao and His 17-piece Instrument.To view other arrangements by John Yao, please visit Sheet Music Plus, Sheet Music Direct, or Ejazzlines.For more info or questions, please visit www.johnyao.com or email me at john@johnyao.com.  Follow me on Instagram, Facebook or subscribe to my You Tube Channel.

Piano Solo - Level 5 - Digital Download SKU: A0.936956 Composed by Polish Carol. Arranged by Arr. by Rachel Steffensmeier. Christian,Christmas,Sacred. Score. 3 pages. Rachel Steffensmeier #6200735. Published by Rachel Steffensmeier (A0.936956). Beginning with a gentle lullaby at the manger scene, this arrangement climaxes to the wonderful truth that was proclaimed to the shepherds: Christ the Babe was born for you..

Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. â€˜Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.

Organ - Level 5 - Digital Download SKU: A0.534661 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Halloween. Score. 16 pages. Musik Fabrik Music Publishing #5739561. Published by Musik Fabrik Music Publishing (A0.534661). Over the years 1908–16, Debussy had produced a viable scenario for Usher on his third attempt. But when he came to making a complete draft of the music, he seems to have lost interest during Roderick Usher’s long monologue, even though he was setting his own text. As in No-ja-li he jumped to the next passage that interested him, in this case the exciting final melodrama and the collapse of the Usher house itself.In the process of completing the missing half of the score, I discovered that by reusing Debussy’s material for similar psychological situations across the opera, and by metamorphosing existing ideas (as Debussy does with Mélisande’s theme in his opera Pelléas et Mélisande), the only things I really needed to add were linking material and any passages where fast music was required. So the ‘nightmare scherzo’, and Lady Madeline’s escape from her coffin and her final bloody revenge on her brother are all mine, but most of the rest is existing Debussy in changing contexts (in which the Russian technique of ‘changing backgrounds’, both harmonic and textural, proved extremely useful, as it did to Debussy in his Prélude à l’après-midi d’un faune). Eventually, both my completed ballet No-ja-li and the House of Usher were successfully premiered in 2006 and the latter soon began to find its way into the established repertoire in Europe and the US. To further support this, I transcribed some of the highlights of Debussy’s score as A Night in the House of Usher for organ, and subsequently piano—with a focus on Scene 2 and the final, horrific and maca-bre melodrama. This climaxes in the double deaths of Roderick Usher and his Sister Madeline, together with the disintegration of the ill-fated House of Usher into the stagnant lake-all beneath a blood-red moon.In this form it was first performed by Ian Buckle in the Howard Assembly Rooms, Leeds in 2010.

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1021643 Composed by Robert E. Benton, Jr. A Cappella,Praise & Worship,Sacred,Spiritual. Score. 2 pages. Robert E. Benton, Jr. #6136421. Published by Robert E. Benton, Jr. (A0.1021643). This hymn climaxes in each verse with the wonderful reality that God’s love has filled the believer’s heart. The poetic expression of God’s love and grace in the text, which is based on Romans 5, is matched fully by the beautiful melody paired with a Dorian harmony.    The hymn is in SATB piano score (hymn) format for congregational singing, choral singing, ensemble, or solo; whether acapella, or with piano accompaniment.   For more information… Website: https://TRUSTHYMN.wordpress.com     Email:  TRUSTHYMN@yahoo.com Facebook: https://www.facebook.com/TrustHymn Instagram: https://www.instagram.com/trust_hymn/

Clarinet Solo - Level 4 - Digital Download SKU: A0.839221 By Charlie Byrd W/the Walter Raim Strings. By Antonio Carlos Jobim. Arranged by Bobby Hesch. Contemporary. Individual part. 3 pages. Bobby Hesch #5358439. Published by Bobby Hesch (A0.839221). ***MEDITATION***!!! TRANSPARENT, ROMANTIC, BEAUTIFUL!!!LET'S PLAY SOME JAZZ!!! IT'S ALL ABOUT EXPRESSION, MUSICIANSHIP, INTERPRETATION!!! CHECK OUT THE MP3 FOR JAZZ STYLE & INTERPRETATION!!!KEY OF C!!! LOW E - HIGH Eb!!! THINK OF GIRL FROM IPANEMA, WAVE!!! YOU HAVE TO ADD THE PASSION TO THESE NOTES TO MAKE THIS PIECE SOAR!!!  EVERYTHING IS SOFT & LIGHT EXCEPT THE CLIMAXES!!!I HOPE YOU ENJOY IT!!! CONTACT INFORMATION:bobbyhesch@yahoo.com

B-Flat Trumpet Solo - Level 2 - Digital Download SKU: A0.1181255 By Yann Tiersen. By Yann Tiersen. Arranged by Fabio Eduardo de Oliveira. Classical,Film/TV. Individual part. 2 pages. Fabio Eduardo #781092. Published by Fabio Eduardo (A0.1181255). FREE DOWNLOAD PLAYBACK https://www.fabioeduardomusiconline.com/freedownloadLa Valse D'amelie from the album Amélie. These songs were the soundtrack for the French Academy Award winning motion picture film 'Le Fabuleux Destin d'Amélie Poulain. Yann Tierson is a noted French composer, most famous for Amélie. His music is mostly composed for piano, harpsichord, violin, and accordion. The animation is from Aniboom Animations, describing life as a song. The depiction is more on a meloncholy scale, describing the major climaxes of the life of an old man as his wife's death, his friend's death on the battlefield, and the rapture of his grandson.

Flute Solo - Level 4 - Digital Download SKU: A0.839537 By Billy Preston & Syreeta. By David Shire. Arranged by Bobby Hesch. Contemporary. Individual part. 3 pages. Bobby Hesch #6331653. Published by Bobby Hesch (A0.839537). WITH YOU I'M BORN AGAIN !!! I WAS HALF NOT WHOLE IN STEP WITH NONE, REACHING THROUGH THIS WORLD IN NEED OF ONE!!!LET'S PLAY SOME JAZZ!!! KEY OF E/F!!!THIS IS WRITTEN TO BE PLAYED AS A SOLO & DOES NOT INCLUDE A DUET PART!!! LOW G#/HIGH C#!!!MP3 FOR JAZZ STYLE & INTERPRETATION!! A BEAUTIFUL LOVE SONG WITH MANY TENDER MOMENTS AND BIG CLIMAXES!!! STYLE AND TONE ARE VERY IMPORTANT!! CONTACT INFORMATION:bobbyhesch@yahoo.com IG:@bobbyhesch!! HAVE FUN !!

Woodwind Ensemble,Woodwind Quintet - Level 4 - Digital Download SKU: A0.755074 Composed by Sy Brandon. 20th Century,Concert,Contemporary. 31 pages. Sy Brandon #3368471. Published by Sy Brandon (A0.755074). A transcription of the composer’s 1969 composition for mixed sextet. The chaconne and variations permeate both the slow and fast sections of this piece. Modal harmony prevails while contrapuntal lines weave towards several exciting climaxes. This work is recorded by the Golden Gate Wind Quintet on the Emeritus label.