2 Pianos,4 Hands,Piano Duet - Level 5 - Digital Download SKU: A0.1175185 By Paul Posnak & Anita Castiglione. By George Gershwin. Arranged by Paul Posnak. 20th Century,Classical,Jazz,Standards. Score. 10 pages. Paul Posnak #775326. Published by Paul Posnak (A0.1175185). Arrangement for 2 pianos, 4 hands of Swanee by George Gershwin.Foreword by the arranger:George Gershwin, since his days as a teenage song-plugger in Tin Pan Alley, loved the medium of two pianos. A consummate improviser with a harmonically sophisticated, jazz-influenced,orchestral approach to the treatment of melody, he was born into the great age of touring duo piano teams, such as Bauer and Gabrilowitsch, Josef and Rhosina Levine, Luboshutz and Nemenoff, and Gershwin's favorite team, Arden and Ohman. Gershwin loved the multi-voiced orchestral color, power and range of two pianists playing and improvising together. In his first major show written with brother Ira, the 1924 Lady Be Good, he incorporated the renowned team of Phil Ohman and Victor Arden into the musical theater pit orchestra, not only to add to the orchestra's sound and rhythmic drive, but also to play during breaks in the action and during Intermission. They even played encores! This successful formula was repeated for the 1926 show, Oh, Kay, and for the 1927 show, Funny Face.Gershwin's own bravura improvisations on his songs sound, even to the trained ear, like two pianos. I have transcribed (and digitally re-recorded) a number of these improvisations note-for-note from the old LP-remastered 78 rpm records and radio broadcasts. I have tried to capture his own two-fisted orchestral keyboard style: his love of inner voices, contrapuntal runs, jazz figurations, sophisticated chordal textures, and swing.These arrangements resulted from my appearance in 2003 as one of two soloists in several all-Gershwin concerts with The National Symphony Orchestra under the direction of Marvin Hamlisch. Marvin suggested that I also play a couple of my Gershwin improvisation transcriptions, and we thought it would be a perfect touch for Lorin Hollander, the other soloist, and me to play a short two-piano piece. I was surprised to find very few two-piano arrangements of Gershwin's songs. I became inspired to fill this void in the duo piano repertoire. It is my hope that these settings will offer a worthy challenge and musical reward for intermediate and advanced piano students and amateurs, and a unique addition to the duo piano literature for professional pianists and duo piano teams the world over.Paul Posnak.

Choral Choir,Choral,SATB Chorus - Level 1 - Digital Download SKU: A0.1465866 Composed by James F. Linzey and Lowell Mason. 21st Century,Chamber,Patriotic,Religious,Sacred. 4 pages. Military Bible Association #1044463. Published by Military Bible Association (A0.1465866). The History of the United States Marine Corps and the Marine Corps HymnOn November 10, 1775, the Second Continental Congress passed a resolution to establish the Continental Marines. ?is marked the formation of the United States Marine Corps. The Marine Corps was provided two battalions with a fleet. But the Treaty of Paris in April 1783 ended the Marine Corps along with the Revolutionary War. It was later permanently re-established on July 11, 1798. Since then the United States Marine Corps has been involved in the War of 1812, defending Washington in Bladensburg, Maryland, fighting for Andrew Jackson against the British in New Orleans, and fighting in the Mexican War (1846-1848) in which US Marines fought all the way to the Halls of Montezuma, Mexico City. The Marines served in the Civil War (1861-1865), the Spanish-American War (1898), the Philippine Insurrection (1899-1902), the Boxer Rebellion in China (1900), and World War I. The Marines were later involved in World War II, the Korean conflict beginning in 1950, and the Vietnam conflict, beginning in 1965. By the 1970s, the Marines were securing NATO, and later were involved in Operation Desert Shield and Operation Desert Storm (1990s), Somalia (1992), Operation Enduring Freedom (2001), the Global War on Terrorism and Operation Iraqi Freedom (2002), and in various conflicts since then. Since the inception of the Marine Corps in 1775,about 70,000 Marines have been killed in action. James Linzey served as a chaplain for the Marines in training at Fort Lee, Virginia, and as a contract chaplain at the Airman-Marine Memorial Chapel at MCAS Miramar from 2016-2019. While at Miramar, he gave leadership seminars to the Marines on the Battle of Midway. He is one of ten children of World War II hero, the late Navy Captain Stanford E. Linzey, Jr., CHC, USN (Ret.), who survived the sinking of the USS Yorktown (CV-5) in the Battle of Midway as a sailor, and later served with the Marines in Okinawa as a chaplain. Since the Marine Corps is part of the Department of the Navy, it has used the Navy hymn in chapel services. What is called “The Marine’s Hymn” cannot be sung in chapel services, because it is not a song of praise. As a fighting march, its author called it a hymn in name only. So, in commemoration of the United States Marine Corps, hymn writer James F. Linzey wrote the United States Marine Corps Hymn, “Serving for Thee.” He set it to the tune of Bethany, which was written by Lowell Mason in 1841. James Linzey is the General Editor of the New Tyndale Version (NTV) Bible translation.

Small Ensemble Flute,Piano,Voice - Level 5 - Digital Download SKU: A0.1073271 By Helene Schulthess. By Fanny Hünerwadel (1826 – 1854). Arranged by Helene Schulthess. Classical,Romantic Period. Score and parts. 24 pages. Helene Schulthess #677536. Published by Helene Schulthess (A0.1073271). The composer Fanny Hünerwadel (1826 in Lenzburg - 1854 in Rome) came from a long-established family of the town of Lenzburg. She was the eldest child of the doctor Johann Friedrich Hünerwadel and Regula Speerli, who were both enthusiastic music lovers. After first being taught by her mother, Hünerwadel learned to play the piano in Lenzburg with Philipp Tietz, Joseph Breitenbach, and Ludwig Kurz and belonged to the local singing society. From 1846 she studied piano, singing, music theory and composition with Hans Nägeli and with Wagner's friend Alexander Müller in Zurich. During her time in Zurich she made the acquaintance of Johann W. Kalliwoda, Richard Wagner, Ferdinand Huber, Franz Liszt, Franz Abt, Wilhelm Baumgartner and Henri Vieuxtemps. In 1852, she played Johann Nepomuk Hummel's Rondo brillant in a subscription concert of the Zurich General Music Society, which became the current Zurich Tonhalle Orchestra. For further studies, she traveled to Florence and Rome in 1853. In Florence she took singing lessons with Romani. In Rome in 1853 she was the guest of the artistic families Corrodi and Imhof and took lessons with the singing teacher Parisotti. Hünerwadel died of typhoid fever in Rome on April 27, 1854, and was buried there on April 30. Six of Hünerwadels seven preserved piano songs were published posthumously (in 1854). Her great-nephew was the composer, painter, and publicist Peter Mieg (1906-1990) Source: Wikipedia.

Organ - difficult - Digital Download SKU: S9.Q6228 Poème symphonique. Transcription by Jean Guillou. Composed by Franz Liszt. Arranged by Jean Guillou. This edition: Sheet music. Organ - Symphonic Poem - transcription. Downloadable. Duration 14' 30. Schott Music - Digital #Q6228. Published by Schott Music - Digital (S9.Q6228). German • English • French.Orpheus is one of 12 symphonic poems composed by Franz Liszt between 1848 and 1858. Liszt regarded these compositions as representing a higher form of musical creation. Their genesis in what he described as a poetic idea allowed him to favour freedom of expression over the constraints of form. The score of 'Orpheus' was first performed on 16 February 1854, under the baton of the composer, as the curtain rose for a production of Gluck's opera 'Orpheus' in Weimar. It had been inspired in particular by the contemplation in the Louvre museum in Paris of an Etruscan vase despicting Orpheus as a symbol of beauty and civilisation, mitigating the brutality of the world through the power of his art. This symphonic poem was first transcribed for organ in about 1860 by Alexander Wilhelm Gottschalk (1827-1908), one of Liszt's pupils. It appears that Liszt was moved to make radical modifications to that version, in spite of which it still remains unsatisfactory. It does, however, give us the benefit of proving that Liszt, who also transcribed the work for piano duet, was not against the idea in itself of a transcription for organ. Jean Guillou's transcription is more than a simple adaptation. As far as Romantic music is concerned, he is responsible for finding appropriate equivalents to the dramatic function of instrumentation to create an atmosphere which comes as close to that of the original composition as possible, to enrich the contrapuntal texture and to contribute to the simulation of the orchestral sound.

Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.745067 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Praise & Worship,Sacred,Spiritual. Octavo. 9 pages. Kevin G. Pace #353066. Published by Kevin G. Pace (A0.745067). Beautiful music for SATB choir. Music by Kevin G. Pace. Text by Mary Ann W. Snowball. Text: Step by step, with ev’ry breathe, we climb the steep terrain To meet our God on heaven’s mount, and know his sacred name. Though the path is strewn with weeds and vision may be skewed, Our footprints on the trail can show true purpose is renewed. As He speaks his sermons on our mountains where He’ll teach, Just step by step, with ev’ry breathe, He is within our reach. As we are submissive and perceive our urgent need, We recognize the Master’s plea to follow and to heed. Godly sorrow brings about our true humility; Repentance changes mourning to a gift which makes us free. As He offers righteousness and clemency to each, Just step by step, with ev’ry breathe, He is within our reach. As we seek enabling pow’r through gaining heaven’s grace, We serve with mercy in our hearts to see the Savior’s face. Ev’ry step in our ascent assures us greater peace, So we’ll be called his precious heirs, with love to never cease. As we touch the mountain top, we’ve reached his sacred place. Just step by step, with ev’ry breathe, we’ve reached his sure embrace.

Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.724913 By Kevin G. Pace. By Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Sacred,Spiritual. Octavo. 3 pages. Kevin G. Pace #333240. Published by Kevin G. Pace (A0.724913). A sacred hymn with music by Kevin G. Pace and text by Mary Ann W. Snowball. Text: Step by step, with ev’ry breathe, we climb the steep terrain To meet our God on heaven’s mount, and know his sacred name. Though the path is strewn with weeds and vision may be skewed, Our footprints on the trail can show true purpose is renewed. As He speaks his sermons on our mountains where He’ll teach, Just step by step, with ev’ry breathe, He is within our reach. As we are submissive and perceive our urgent need, We recognize the Master’s plea to follow and to heed. Godly sorrow brings about our true humility; Repentance changes mourning to a gift which makes us free. As He offers righteousness and clemency to each, Just step by step, with ev’ry breathe, He is within our reach. As we seek enabling pow’r through gaining heaven’s grace, We serve with mercy in our hearts to see the Savior’s face. Ev’ry step in our ascent assures us greater peace, So we’ll be called his precious heirs, with love to never cease. As we touch the mountain top, we’ve reached his sacred place. Just step by step, with ev’ry breathe, we’ve reached his sure embrace.

Piano Solo - Level 5 - Digital Download SKU: A0.1028659 Composed by Christian Robert Hendricks. 20th Century,Concert,Contemporary. Score. 14 pages. C.R. Hendricks #3664869. Published by C.R. Hendricks (A0.1028659). The first in a series of solo piano works inspired by scenes from literature, The Infernal Whirlwind is both a representation of and reaction to Canto V in Dante's Inferno. Dante and his guide Virgil enter the second level of Hell, where the souls of people who gave into lust are condemned. At first Dante hears but a faint sound of commotion, but upon fully entering the level he encounters a massive tempest of souls being buffeted about. He recognizes some famous figures here and there. Eventually, his attention is drawn to two figures, the primary one being Francesca da Rimini. She tells of how, after reading of Sir Lancelot, she and her brother-in-law allowed themselves to love each other. Dante, deeply moved by the pathos of Francesca's story and disturbed by the continuous whirlwind, faints.Composers such as Rachmaninov and Tchaikovsky have been inspired by Francesca da Rimini specifically, but The Infernal Whirlwind is more concerned with what the whirlwind itself represents: the control lust and desire held on these souls, both while living and in the afterlife. The central theme is a twelve-tone row, but the work is not truly serialist in construction or conception: It rather represents the winding, ranging, unsettled nature of passion itself, and of the whirlwind.The piece lasts about 5 minutes, and is for an advanced player. In the beginning it requires use of all three pedals (una corda, sostenuto, sustain). Perhaps the main influence is Liszt, and one could find useful a Lisztian approach to performance.  .

Piano Quintet,String Ensemble Cello,Piano,Viola,Violin - Level 4 - Digital Download SKU: A0.1499301 Composed by James Albert Yeager. 21st Century,Chamber,Contemporary. 99 pages. James A. Yeager #1075356. Published by James A. Yeager (A0.1499301). Foreword:Each movement revisits classic paradigms—sonata form (I), ternary song form (II), and sonata rondo (III). The three movements of this piano quintet share a common element contained in the seed of a motivic idea—the interplay between the minor and the major 3rd : a tonal ambiguity or conflict of the minor 2nd. Stylistically, this Sonata pays modest homage to neo-classicism of 20th Century composers such as Poulenc (I), Prokofiev, Shostakovich (III), and perhaps even a touch of Gershwin (II). I hope this piano quintet will offer players and their audience chamber music that is a bit unusual yet worthwhile. The Sonata embraces the lightheartedness, the melancholy , and the whimsy of nostalgia. There is no separate piano part.Performance Notes:I Moderately fast,  expresses dialogues of themes that move between piano and strings. The playfulness of the exposition (repeat is not optional) can give way to a more passionate building of the development to the climax at letter H. In the recapitulation the longer bridge remains steadily in tempo (no accelerando) relaxing just before letter N and theme two. The coda after letter O is a somber premonition of movement two.II Slowly, the bowings are ad libitum. The viola is chantlike and smooth. Violins glissando like the portamento of the Chinese stringed instruments, the Guqin or the Ehru type glissando leading to a very pure quiet long tones without any vibrato and the resulting fourth should be a pure tuning. The piano can use una corda ad libitum in softer passages, and the pedal (damper) ad libitum. In the B section (Letter D) pianist should treat the 64th notes like an ornament (upper mordent). Strings play the eighths after Letter G accents with strong bow changes. At the end, the piano lingers until the sound vanishes after the strings die away.III Introduction: Quick and spirited, the transition (Introduction) is measured and strict without alteration leading to letter A. The rondo theme, ‘A’ section, can slightly intensify in each successive repetition, but not slavishly. The small waltz or ‘B’ section, Letter C, the quartet might play to resemble a reed organ or harmonium—sweet, sonorous, and harmonious. The ‘C’ section, Letter G, big swell on short bridge passage, then pizz. strings become very rustic and like a peasant dance. Pianist can use una corda ad libitum in soft passages. Violins again after Letter I play similarly to non-vibrato of 2nd movement. The ‘B’ section at Letter L is now the grand waltz slightly faster and more indulgent with tiny rubatos tastefully allowed.James Albert Yeager (b.1946)James began his career as organist and choral conductor then harpsichordist and finally, professor of sacred music. As an organ major at The Ohio State University, he studied with Dr. Wilbur Held (B.Mus. 1969). Professor Joseph Goodman mentored him in composition at Union Theological Seminary in New York city (M. Sac. Mus, 1971). At the University of Colorado-Boulder, he returned to the organ, nevertheless, keeping composition as a mainstay (D.M.A. 1985).  He was appointed Director of Sacred Music at the Pontifical College Josephinum (Columbus, Ohio) and rose to the rank of Professor (1984-2009). He retired as professor emeritus in 2009 and moved to New Mexico. While residing in Mountainair, New Mexico, he was organist/choral director for 12 years at a major Albuquerque church retiring again in 2021. His most recent compositions include Passacaglia & Fugue for Organ and Chamber Orchestra (2022), a Fugue for Piano and Orchestra (2022), a Sonatina for Flute and Piano (2023), and the Sonata for Piano Quintet (2024) as well as several smaller works for voice and piano.

Clarinet and piano - intermediate to advanced - Digital Download Composed by Gioachino Rossini (1792-1868). Edited by Rainer Mohrs and Rudolf Mauz. This edition: Sheet music. (c) 2020 Schott Music GmbH & Co. KG, Mainz. Classical. Downloadable. 17 pages. Schott Music - Digital #Q53274. Published by Schott Music - Digital

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.576776 Composed by Roland Rogers. Arranged by David Warin Solomons. Christian,Romantic Period. Octavo. 7 pages. David Warin Solomons #432529. Published by David Warin Solomons (A0.576776). Transcription of Roland Rogers' victorian choral piece The Storm, with words by Adelaide Anne Procter (who also wrote the words for the famous song by Arthur Sullivan The Lost Chord) An arrangement of this music for woodwind quartet is also available on this site. The sound sample is sung by me (transposed down a fourth). The tempest rages wild and high, The waves lift up their voice and cry Fierce answers to the angry sky, - Miserere Domine. Through the black night and driving rain, A ship is struggling, all in vain To live upon the stormy main; - Miserere Domine. The thunders roar, the lightnings glare, Vain is it now to strive or dare; A cry goes up of great despair, - Miserere Domine. The stormy voices of the main, The moaning wind, the pelting rain Beat on the nursery window pane: - Miserere Domine. Warm curtained was the little bed, Soft pillowed was the little head; The storm will wake the child, they said: Miserere Domine. Cowering among his pillows white He prays, his blue eyes dim with fright, Father save those at sea to-night! Miserere Domine. The morning shone all clear and gay, On a ship at anchor in the bay, And on a little child at play, - Gloria tibi Domine!

2 Pianos,4 Hands,Piano Duet - Level 4 - Digital Download SKU: A0.972673 Composed by James Siddons. Contemporary,Folk,Jazz,Spiritual. Score. 25 pages. James Siddons Music and Writings #6698569. Published by James Siddons Music and Writings (A0.972673). Performance NoteSonata Hymnica No. 6 is scored for two pianos and three performers. One  performer (or player) sits at Piano I and may also serve as the conductor. At Piano II, Performer 1 plays from the treble  staff and Performer 2 plays from the bass staff. There are possible variations in this, such as having four pianos (two pianos  doubling the other two), or having two performers at Piano I, with Performer 2 playing only the bass-staff rhythmic pattern that  begins in measure 37. A standing conductor (not playing piano) may be desired.  Although repetitive, the music in this sonata rarely repeats itself  exactly; hence, further minor improvisations by the performers are appropriate, keeping with the improvisatory nature of oral  tradition. Program Note (for use in concert programs) by James Siddons  The Sonata Hymnica series by James Siddons consists of piano solos that explore the world of American hymns and  vernacular religious songs in the 1880-1920 era, when rural and small-town churches relied on pianos for music, and, in an age before microphones and amplification, the acoustics of wooden floors, walls, and high ceilings. These sonatas are not hymn arrangements but explorations of the sounds that can be created by a piano in a reverberant environment, all the while keeping in mind the essential message of the familiar words  sung to the various hymn tunes. Sonata Hymnica No. 6 is the first in the series to be for piano ensemble, and the second (after No. 3) to be based on the worship music of the 19th-century African American church. This sixth sonata also explores the singing world of the black congregation and choir as well as the piano. Their singing was shaped  by the sounds and intonations of the piano and the heritage of European music behind it, as well as the contours and cadences of the religious folk songs known as Spirituals. But the black congregations also sang hymns and choruses from the Classical tradition, and the Spirituals became the basis of many adaptations by white arrangers. Thus, we may speak  of  standardized adaptations of Spirituals as white black music, and black performance styles of Classical works as black white music. Piano ragtime music is a non-religious example of white music (the military march) made into black white music by the blending in of the syncopated rag rhythm. Sonata Hymnica No. 6 explores the intermingling of these two strains of American music as heard in the 19th-century black church. In his classic book The Souls of Black Folk (Chicago, 1903), W. E. B. Du Bois confesses to not being a musician but nonetheless finding himself enthralled by the music of the Southern 19th-century African Americans. He refers to their singing as the Frenzy or ‘Shouting,’ when the Spirit of the Lord passed by, and seizing the  devotee, made him mad with supernatural joy . . . stamping, shrieking, and shouting, the rushing to and fro and waving of arms,  the weeping and laughing, the vision and the trance (p. 116). On another page, Du Bois speaks of . . . the songs of my fathers . . . swelling with song, instinct for life, tremendous treble and darkening bass (p. 163). Sonata Hymnica No. 6 uses the African call and response form as well  as percussive polyrhythms.

Piano,Tenor Saxophone - Level 1 - Digital Download SKU: A0.522193 Composed by Colin Kirkpatrick. Contemporary,Instructional,Standards. Score and part. 28 pages. Colin Kirkpatrick Publications #3133717. Published by Colin Kirkpatrick Publications (A0.522193). My Saxophone and Me consists of fourteen short and delightful pieces written especially for absolute beginners up to students at elementary level. The book comes in two versions, one for B flat saxophones and the other for E flat instruments. However, for obvious reasons you cannot mix B flat and E flat instruments in the same group.   The pieces are intended as supplementary material to your usual tutor books. The music can be used with any number of players and the pieces remain in the lower register. Several early pieces use only the notes B, A and G and the key of G major predominates. Six of the pieces use only half notes (minims) and quarter notes (crotchets). The low C, a tricky note for some beginners, has been avoided almost completely. On the one occasion it appears, the note C an octave above is given as optional. Although the pieces are arranged in approximate order of difficulty you can play them in any order you want, depending on the musical needs of the student. Your students are sure to enjoy these pieces, which are both easy on the fingers and easy on the ear! Several pieces have a few measures (bars) rest in the middle not only to give the player a break and add musical contrast but also to give the experience of counting empty bars during the music. When space allows, piano cues appear in the solo part. Some of the later pieces in the book have good performing potential and could be strung together in any order to create a small suite. Every piece has a short piano introduction so that the student can sense the tempo and musical style before playing. The keyboard accompaniments have been kept as simple as possible with the minimum number of notes. Dynamic markings (e.g. piano and mezzo-forte) are used from the start, but phrasing has been omitted from the solo part. This is because the teacher is usually in the best position to suggest phrasing within the physical capabilities of each student. Slurs have been employed sparingly and only when necessary. An MP3 file of all the piano accompaniments is also available as a separate item. You can find it here: https://www.sheetmusicplus.com/title/20679835 The book includes a well-known folk lullaby from Wales and a lively folk song from Thailand which is known by all Thai people because it’s taught in elementary schools throughout the country. The music has been converted into pdf files at 1,200 dpi which will produce professional looking printed copies of high quality. However, the output quality will also depend on your own printer settings and capabilities. The publication consists of a teacher's book (18 pages) and a student's book (8 pages) both contained in the same pdf file. The sample MP3 (click on the “Listenâ€� button above) contains recordings of Starting Tune (No 1); Island Song (No 3); Waltzing Around (No 7); Just a Minuet (No 11) and Donkey Trot (No 12). Colin Kirkpatrick studied at London’s Royal College of Music. He followed a career in music education. He was a High School Music Director in London for about fifteen years and later became a Music Education Adviser for local government, with responsibility for training teachers and directing the instrumental teaching service. The work in education gave him many opportunities for composing. He has published a great deal of music and his publishers include Boosey & Hawkes, Novello, Paxton, Schott, Oxford University Press, Chester, Belwin Mills and Intrada (Netherlands). His music has been performed and broadcast all over Europe as well as in Japan, Thailand, Australia and the USA. He holds MA and PhD degrees. He was a High School Music Director for about fifteen years and then became a Music Education Adviser for local government, with the added responsibility for training teachers and overseeing the instrumental service. He has written.

Alto Saxophone,Piano - Level 1 - Digital Download SKU: A0.522194 Composed by Colin Kirkpatrick. Instructional,Standards. Score and part. 28 pages. Colin Kirkpatrick Publications #3134129. Published by Colin Kirkpatrick Publications (A0.522194). My Saxophone and Me consists of fourteen short and delightful pieces written especially for absolute beginners up to students at elementary level. The book comes in two versions, one for B flat saxophones and the other for E flat instruments. However, for obvious reasons you cannot mix B flat and E flat instruments in the same group.   The pieces are intended as supplementary material to your usual tutor books. The music can be used with any number of players and the pieces remain in the lower register. Several early pieces use only the notes B, A and G and the key of G major predominates. Six of the pieces use only half notes (minims) and quarter notes (crotchets). The low C, a tricky note for some beginners, has been avoided almost completely. On the one occasion it appears, the note C an octave above is given as optional. Although the pieces are arranged in approximate order of difficulty you can play them in any order you want, depending on the musical needs of the student. Your students are sure to enjoy these pieces, which are both easy on the fingers and easy on the ear! Several pieces have a few measures (bars) rest in the middle not only to give the player a break and add musical contrast but also to give the experience of counting empty bars during the music. When space allows, piano cues appear in the solo part. Some of the later pieces in the book have good performing potential and could be strung together in any order to create a small suite. Every piece has a short piano introduction so that the student can sense the tempo and musical style before playing. The keyboard accompaniments have been kept as simple as possible with the minimum number of notes. Dynamic markings (e.g. piano and mezzo-forte) are used from the start, but phrasing has been omitted from the solo part. This is because the teacher is usually in the best position to suggest phrasing within the physical capabilities of each student. Slurs have been employed sparingly and only when necessary. An MP3 file of all the piano accompaniments is also available as a separate item. You can find it here: https://www.sheetmusicplus.com/title/20679821The book includes a well-known folk lullaby from Wales and a lively folk song from Thailand which is known by all Thai people because it’s taught in elementary schools throughout the country. The music has been converted into pdf files at 1,200 dpi which will produce professional looking printed copies of high quality. However, the output quality will also depend on your own printer settings and capabilities. The publication consists of a teacher's book (18 pages) and a student's book (8 pages) both contained in the same pdf file. The sample MP3 (click on the “Listenâ€� button above) contains recordings of Nice ‘n Easy  (No 2); Lazy Days (No 4); Waltzing Around (No 7); Just a Minuet (No 11) and Donkey Trot (No 12). Colin Kirkpatrick studied at London’s Royal College of Music. He followed a career in music education. He was a High School Music Director in London for about fifteen years and later became a Music Education Adviser for local government, with responsibility for training teachers and directing the instrumental teaching service. The work in education gave him many opportunities for composing. He has published a great deal of music and his publishers include Boosey & Hawkes, Novello, Paxton, Schott, Oxford University Press, Chester, Belwin Mills and Intrada (Netherlands). His music has been performed and broadcast all over Europe as well as in Japan, Thailand, Australia and the USA. He holds MA and PhD degrees. He was a High School Music Director for about fifteen years and then became a Music Education Adviser for local government, with the added responsibility for training teachers and overseeing the instrumental service. He has writte.

Instrumental Duet Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.945802 Composed by Wolfgang Amadeus Mozart. Arranged by Giulio Castronovo. Classical,Instructional. Score and parts. 13 pages. Giulio Castronovo #6259401. Published by Giulio Castronovo (A0.945802). Wolfgang Amadeus wrote the Fugue for 2 pianos in C minor KV 426 in December 1783, most probably under the influence of the fugues by Handel and Bach he had got acquainted with at the home of Baron Gottfried van Swieten. Some years later, he arranged the fugue for string orchestra, adding an introductory Adagio. This new piece (KV 546) was entered into Mozart's own catalogue of works on 26 June 1788.Musicologist Robert D. Levin wrote about the Adagio: Angular outbursts alternate with an unearthly hush; its suggestions of violence and mysticism make the ensuing geometry of the fugue seem a relief.This arrangement of Mozart's Adagio & Fugue in C minor for piano duet is based on the orchestral score, but it incorporates some details and features of the 2 piano version in the fugue. It is perfect for enjoying it at home, for study/analysis purposes and for conducting classes.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 1 - Digital Download SKU: A0.1402823 Composed by Daniel Alomia Robles, Jorge Milchberg, and Paul Simon. Arranged by Alan Frazer (arranger) & Peet du Toit (orchestrator). Folk. 10 pages. Peet du Toit #986049. Published by Peet du Toit (A0.1402823). This song started out as an Andean folk melody that Paul Simon came across in 1969 when he played a week-long engagement at a theater in Paris along with the South American group Los Incas, who played an instrumental version of the song called Paso Del Condor. Said Simon: I used to hang around every night to hear them play that. I loved it and I would play it all the time, and then I thought, Let's put words to it.The Peruvian songwriter Daniel Robles recorded this song in 1913, and copyrighted it in the United States in 1933 during his travels in America. When Simon recorded it with his added lyrics, he thought it was a traditional song, as that's what Los Incas told him. When Robles' son filed a lawsuit, Simon had to give Robles a composer credit on the song, with his estate getting those royalties.In discussing the song, Simon always talks about it as being based on a traditional Peruvian song, and we've never heard him mention Robles. This wasn't the first time Simon got tangled over songwriting credits on traditional melodies: Simon & Garfunkel's Scarborough Fair / Canticle was based on a folk song, but his arrangement came from a singer named Martin Carthy. Simon was always clear on his influences, but legal misunderstandings were a problem in these cases.Los Incas, who were the group that introduced Simon to the song, provided the instrumentation when they recorded it in Paris with Simon. Their leader, Jorge Milchberg, played a charango, which is an Andean string instrument made from the shell of an armadillo. Simon played acoustic guitar, and other members of Los Incas played flutes and percussion. When Simon brought the track to America, he added his lyrics. This was one of the easier songs to record for the Bridge Over Troubled Water album, since the backing track was already mixed together - it was just a matter of adding the vocals.The title translates to English as The Condor Passes. The lyrics Robles wrote to the song in 1913 are about returning home to his native Peru.Los Incas leader Jorge Milchberg got a composer credit on this song along with Simon and Robles. Milchberg later became the head of the group Urubamba and remained friends with Simon, who toured with them and produced their first American album. >>The Wainwright Sisters covered this for their 2015 Songs in the Dark album. Lucy Wainwright Roche explained to The Sun: I chose 'El Condor Pasa' because it was one of the first songs I ever learned to play on it guitar and it has a childlike quality to it, but it also has a darkness and sadness that fit in well with the album.Paul Simon performed this on both Sesame Street (in 1977) and The Muppet Show (in 1980).