Piano Solo - Level 3 - Digital Download SKU: A0.1450949 By Damien Gauci. By Damien Gauci. Contemporary,Jazz. Score. 5 pages. Damien Gauci #1014749. Published by Damien Gauci (A0.1450949). This piece began from the rhythm that is heard in the left hand in the first 4 bars. It is in a much more improvisatory style than my other pieces which is something I think I wanted to try to get outside my comfort zone. I’d have to say that my favourite part of the piece is the second section with the varied rhythm in the left hand. It is a minor variation as the rhythm is pretty much the same but the style and energy of it is different and more energetic.I had a lot of fun writing this piece and I think that it definitely got me out of my comfort zone writing a jazzy style that I don’t usually write in. As for the title of this piece didn’t come to me until after I had finished it, while I was writing it, it didn’t have a name at all as the motifs and rhythms in the piece directed my writing. I was brainstorming some names and felt like it would suit something busy like a city. I’m happy with the final title as I think it suits the piece quite well, it’s tricky to find a name that suits the piece after I have written it.

Piano Solo - Level 4 - Digital Download SKU: A0.1030831 Composed by Michael C. Brown. 20th Century,Romantic Period. Score. 23 pages. Michael C. Brown #4051. Published by Michael C. Brown (A0.1030831). This piece celebrates the life and mourns the loss of my granddaughter, Paisley Gladys Hogan, who was but 2 months old when she was called to Heaven. These are the words I wrote just before her funeral.... I. The Presence - She was here. I held her the day she was born. I held her and watched her smile at me less than 24 hours before she departed. She only knew love. No one around her ever showed her anything else that humanity had to offer; like hatred, heartache, pain, control, or anger. II. The Shock - She feels a Hand beckon her to leave her mortal coil, and she enters into a world we cannot yet reach.. With no one home, her former body ceases to wake. The unimaginable has happened and we struggle to reverse it. Finally, it becomes clear that we cannot. She sees us cry and she wonders what is happening. Having never known sorrow, she only sees that love didn't cause this response. She wants to comfort us with the love she knows, but we do not yet sense it. III. The Questions - One word has confounded mankind from its creation; Why? We have never found an acceptable answer. We ask, Why did this happen? and What did I do? and What didn't we do right? and Why couldn't it have been me? among others. We only know that her absence has carved holes in our hearts shaped like her. She tries to tell us, You can still love me. I just cannot be seen by you now. It does not mean your love cannot make me happy. I still want it. I still feel it. Please feel my love for you. IV. Letting Go - The day comes to bid farewell to the vehicle by which she came to us. We struggle to cope that we will see her face no more except in pictures. Because of the brevity of her life, memories are few to relive, but to do so is to recall happiness. In sorrow, we return her to the earth. All that is left is to return to recall, to talk to her, to bring flowers and other gifts, and to await the day we follow her. V. Remembering - The days and years follow. Normalcy slowly sets back into our lives. The holes in our hearts will never fully heal. But the salve of her love and her memory help to soothe the ache. We still return to where we placed her mortal home, where we laugh and cry in tandem, where our hearts ache to fill the void left by her departure. It will never really get better, but it will become easier for her love to dull the sting of her absence. VI. The Reunion - One by one, we will feel the same Hand bid us to come. The same events will befall those left behind each time. One by one, she will greet us as we reunite with her. We marvel at how she has stayed with us as we stay to comfort those we had just bidden farewell. The rest cannot be imagined by we that remain..........

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1019370 Composed by Kevin Longley. Christian,Praise & Worship,Sacred. Octavo. 12 pages. Kevin Longley #6532899. Published by Kevin Longley (A0.1019370). Bring His LoveInspiration (below is a note I sent to my sister) Hi Karen! In the fall of last year I started working on a new church anthem for FUMC. Over the years your choir has sung several pieces of mine; so I felt I should do something in return. I quickly got an idea for the music only (sometimes I will get some lyric ideas also, but didn't this time.) By the first of the year I had the basic structure sketched out on paper but then put it aside for Easter Rehearsals. When the pandemic stopped all church choirs I returned to the music and by early May had the score in the computer, close to completion. At that point I still didn't have any lyrics but began feeling that it should be about God's creation. All I could envision was a singer with his arms stretched out to the sun, the ocean, the moon, etc. while singing this piece. So I started searching for a possible prayer that might fit and came upon Canticle of the Son. As I read it through I liked the structure and began sketching out the lyrics. I couldn't help but wonder what our response should be to God's creation. How should we thank him or praise him or take care of it? I then turned my thoughts to FUMC and considered this - what phrase would sum up this churches mission? I almost immediately got Bring His Love. From there the balance of the lyrics fell into place. So attached is the recording and the music. I have no expectations but hope you and the choir enjoy the music. The Music The piece starts with 16th note broken chords in the upper register of the piano which lead to the opening theme. A tenor soloist begins by singing God's praises for all he has given us; ending with the thought How can we thank such kindness?; The answer Bring His Love the B section. At its conclusion we are returned to the opening theme, this time sung by the choir which again leads us to the same questionHow can we thank such kindness?, The answer Bring His Love the B section. A C section is then introduced with a change to a more beat driven accompaniment with the vocals alternating between the upper and lower voices. A return to the opening theme, with minimal chordal accompaniment, features the original soloist but then adds a second voice leading to a duet and a return to the broken chord accompaniment.. Finally the B section,Bring His Love is repeated and concludes in a rousing fashion.. Program Notes The piece could work very well for Earth Day celebrations.

Digital Download SKU: A0.1072748 Composed by Maskhid Hl. Arranged by Jay wattz. Contemporary,Hip-Hop. Accompaniment. Duration 193. King fabio #4845043. Published by King fabio (A0.1072748). MEKPORMÃ� is an Ewe word in Africa ( Ghana  ) ethnic word which means ( didn't you see).This song was compose by a fast rising artiste known in showbiz MASKHID HL according to the terms (didn't you see) there are many things going on in this Africa Ghana country which the Government close eyes and ears on it and nobody was able to talk about it so the solution to solve will come and it putting everybody in big problem.Every will be clear after hearing the song.Thanks you for your support may God bless.

Choral Choir,Choral (SAB) - Level 2 - Digital Download SKU: A0.1256120 By Janet Kidd. By Janet Kidd. Arranged by Janet Kidd. Christian,Easter,Praise & Worship,Religious,Sacred. 9 pages. Janet Kidd #849588. Published by Janet Kidd (A0.1256120). Easter Sunday is the 10th song in the Easter Vigil Cantata We Didn't Know. It's a song about the women at the tomb on Easter Sunday morning. Here is a full list of the Easter Vigil cantata in order1. Palm Sunday2. It Seemed Like a Glorious Time3. We Didn't Know4. One Man5. Mob6. The Hope of Nations7. Crucifixion8.  A Singular Night9. Great Dreams10. Easter Sunday11. Alleluia.

Instrumental Duet E-Flat Clarinet,Instrumental Duet - Level 3 - Digital Download SKU: A0.589782 By John Denver. By David Leslie Froggatt, Jane Barnes, and Johnny Marks. Arranged by David McKeown. Children,Christmas,Country,Holiday,Rock. Score and parts. 4 pages. David McKeown #6096103. Published by David McKeown (A0.589782). This version of Rudolph the Red-Nosed Reindeer is arranged by David McKeown as a duet for one Clarinet and one Alto Clarinet. The song, Rudolph the Red-Nosed Reindeer, was written in 1949 by Johhny Marks. The Rudolph story was written by Marks’ brother-in-law, Robert L May, a decade earlier. The success of the song was guaranteed when it was recorded by Gene Autry, a huge star at the time. Initially Gene Autry didn’t like the song and was only persuaded to record it by his wife. She obviously knew best as Rudolph went on to become the second best-selling Christmas record of all time after White Christmas, with versions by everyone from the Jackson Five to Alvin and the Chipmunks. This duet version of Rudolph the Red-Nosed Reindeer is based on the Gene Autry version, with a short introduction, and three choruses of the melody, with a key change and varied accompaniment throughout. Rhythms are simple in a swing style and the range is conservative, so this arrangement is ideal for players at an intermediate level. Click the link above to listen to a full Youtube performance of the Clarinet version of this duet.There are many more top quality arrangements and compositions by David McKeown for you to browse, (including many Christmas carols and songs), at https://www.sheetmusicplus.com/publishers/david-mckeown/6203

String Quartet String Quartet - Level 3 - Digital Download SKU: A0.749737 Composed by Traditional. Arranged by Stephen M. Taylor. Contemporary,Jewish,Wedding,World. Score and parts. 8 pages. SMT Music #3864937. Published by SMT Music (A0.749737). Erev Shel Shoshanim is an ancient Hebrew Melody that we often play for jewish weddings as the bridal march. Very beautiful but simple melody and chordal structure it's easy to ad lib to stretch out as needed. There's an additional section we didn't record but you can see that the 2nd violin gets the melody in the third pass of the song. I included a lead sheet with chords as it works great to include piano /harp or guitar if available. .

Instrumental Solo,Saxophone - Level 4 - Digital Download SKU: A0.983172 Composed by Craig Wadley. 21st Century,Contemporary,Contest,Festival,Halloween. Individual part. 18 pages. Wadley Publications #4638491. Published by Wadley Publications (A0.983172). Nevermore for Unaccompanied Saxophone by Craig Wadley. As this is an unaccompanied piece, ANY saxophone is acceptable. While most soloists will undoubtedly opt to use alto or soprano, the composer welcomes renditions of this piece on any of the larger saxes as well. This piece was inspired by Nevermore: An Evening With Edgar Allen Poe, a single act play featuring Jeffrey Combs. My good friend, Dr. Brent Bristow of Arkansas State University, Beebe, convinced me to go see the play when it was presented there in March of 2018. That performance by the legendary Mr. Combs inspired this piece. Why unaccompanied saxophone? Brent Bristow and I have been close friends since high school, and since he is the one who convinced me to see this show, and given that he plays classical saxophone (yes, that IS a thing!), I figured saxophone would kill two birds with one reed… or something like that. The show itself is a one-man performance, so that’s why this piece is unaccompanied. I toyed with the notion of including some text from the show. Eventually, I decided to go with The Raven, which is featured prominently in Combs’ monologue. But I didn’t want to RELY on The Raven, so I wrote the piece in such a way that it can be performed with OR without the narrator. I took a bit of inspiration from Bach’s cello music and brought in some more modern elements such as shifting meters and limited use of slap-tongue and multiphonics to keep things interesting. No altissimo is used.This work would make for excellent solo repertoire at the collegiate level, while still being potentially accessible to advanced high school players. If the narrator is used, this work would also be great as part of a Halloween/horror variety show!You may note that the mp3 demo preview uses a cello sound (placing the transposition in the range of the baritone sax, though again, any saxophone is acceptable). A cello sound is used because samples of saxophone sounds generally leave much to be desired, and they are most commonly based on jazz tone qualities which would be completely inappropriate for this piece.

Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1153292 By John Michael Ferrari. By John Michael Ferrari. Arranged by John Michael Ferrari. Country,Pop,Singer/Songwriter. Score. 5 pages. Pepper Jay Productions #753541. Published by Pepper Jay Productions (A0.1153292). What Are You Doing was written by John Michael Ferrari based on a phone call he received at night from a young girl. She talked. He listened. He didn't know what to say so he put it in this song.

Concert Band - Level 2 - Digital Download SKU: A0.1027468 Composed by Keane Southard. Contemporary. Score and parts. 40 pages. Spindrift Pages #546437. Published by Spindrift Pages (A0.1027468). Do You Hear How Many You Are? for Concert Band was originally written in April and May of 2010 for SATB choir. I made this concert band arrangement in 2012. The origins of this piece and text come from a very interesting experience I had in December of 2009. I have been learning a lot in the past few years about the state of our world and the many huge problems and crises we are faced with in the near future, and this discovery has been so daunting and overwhelming to me. So much change needs to happen in order for the near and long-term future of our world to be just and stable that I have felt a lot of guilt over my choice of profession. Why have I chosen to be a composer and musician when I could make more of an impact on solving these problems if I were a scientist or policy maker etc.? I have been struggling to find a solution to this dilemma for a while now and I just happened to be thinking about it, while filled with lots of stress and worries, one night as I was falling asleep in December of 2009. At the moment when I was in that state halfway between sleep and consciousness, I suddenly heard the line Do you hear how many you are? in my head, yet I felt as though I didn't come up with the line but that it was said TO me. I was instantly comforted, as if a load fell off my shoulders, and then I began to hear it being sung, which I knew was the beginning of a choral piece. I woke up, wrote down the music I was hearing (about the first six measures of the work) and then wrote down this entire poem. I truly feel that this message came to me for a reason, and that I need to share it through the music I create. Those of us who want to change the world for the better are not alone; we are many and we will make our voices hear in order to heal the world. -Keane Southard Duration: c. 3 minutes Grade 2 -Finalist, 3rd International Frank Ticheli Competition -Premiered April 19 2013 by the Minot State University Symphonic Band, Devin Otto, conductor Website: keanesouthard.instantencore.com.

String Quartet String Quartet - Level 4 - Digital Download SKU: A0.845757 By Bobby Darin. By Kurt Weill. Arranged by Robert Newth. Broadway,Jazz,Musical/Show,Pop,Standards. Score and parts. 12 pages. Robert Newth #6217749. Published by Robert Newth (A0.845757). 'Die Moritat vom Mackie Messer', more commonly known as 'Mack the Knife', is a song by Kurt Weill and Bertolt Brecht from their play 'The Threepenny Opera', which was first performed in Berlin in 1928. This song was hastily written before opening night for the lead actor, who complained that his character didn't have a good introduction. Mack the Knife quickly became a jazz standard, and has now been covered countless times by artists such as Frank Sinatra, Robbie Williams, Louis Armstrong, and Ella Fitzgerald.

Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.549333 By Barry Manilow. By Bruce Johnston. Arranged by James M. Guthrie, ASCAP. Contemporary,Rock. Score and part. 8 pages. Jmsgu3 #3486247. Published by jmsgu3 (A0.549333). Duration: ca. 3:00, score: 5 pages, solo part: 1 page, piano part: 2 pages.Very famous song suitable for church, recital or nightclub. I Write the Songs is a popular song written by Bruce Johnston in 1975 and made famous by Barry Manilow. Manilow's version reached number one on the Billboard Hot 100 chart in January 1976[2] after spending two weeks atop the Billboard adult contemporary chart in December 1975.[3] It won a Grammy Award for Song of the Year and was nominated for Record of the Year in 1977.[3] Billboard ranked it as the No. 13 song of 1976.[4]The original version was recorded by The Captain & Tennille, who worked with Johnston in the early 1970s with The Beach Boys. It appears on their 1975 album, Love Will Keep Us Together. The first release of I Write the Songs as a single was by then teen-idol David Cassidy from his 1975 solo album The Higher They Climb, which was also produced by Bruce Johnston. Cassidy's version reached #11 on the UK Singles Chart in August of that year.[5]Johnston has stated that, for him, the I in the song is God,[2] and that songs come from the spirit of creativity in all of us. He has said that the song is not about his Beach Boys bandmate Brian Wilson.[6]Manilow was initially reluctant to record the song, stating in his autobiography Sweet Life: The problem with the song was that if you didn't listen carefully to the lyric, you would think that the singer was singing about himself. It could be misinterpreted as a monumental ego trip.[3] After persuasion by Clive Davis, then president of Arista Records, Manilow recorded the song, and his version of I Write the Songs was the first single taken from the album Tryin' to Get the Feeling. It first charted on the Billboard Hot 100 on November 15, 1975, reaching the top of the chart nine weeks later, on January 17, 1976. Wikipedia

Piano Solo - Level 3 - Digital Download SKU: A0.1425802 By Damien Gauci. By Damien Gauci. Contemporary,New Age. Score. 5 pages. Damien Gauci #1006562. Published by Damien Gauci (A0.1425802). I had a lot of fun writing this piece. The idea came from one of my composition friends from my time at University. He enjoyed writing a lot of anime style music - especially using the anime chord progression which is what I use in the composition. I didn’t want to the piece to sound too much like an anime opening so I did alter the chord progression a little here and there just to make it’s own thing.I am quite happy with how this piece turned out though, the chord progression does provide for some really nice and smooth voice-leading which makes the whole composition more seamless. There are a few different melodies in this piece although I did try to use the one melody and create the other ones based off of that. That is a skill I’m still working on and it really pays off when it’s done well.