2 Pianos,4 Hands,Piano Duet - Level 2 - Digital Download SKU: A0.565175 By Sharon Wilson. By African-American Spiritual. Arranged by Sharon Wilson. Folk,Jazz,Sacred,Standards,Traditional. Score. 13 pages. Sharon Wilson #3516203. Published by Sharon Wilson (A0.565175). This arrangement of the traditional spiritual I Shall Not Be Moved is presented here as a mixed level duet for two pianos, four hands. The PIANO 1 is the easier part (early-intermediate) and the PIANO 2 is slightly more challenging, though still only at the intermediate level. Both PIANO parts carry the melody at times beginning with PIANO 1 for the first chorus and verse. Bold and cheerful, this dual piano duet is an ideal selection for a church setting.The purchase price includes a 6-page score with combined PIANO 1 and PIANO 2 parts on each page (the grand staff) plus an alternate format with the PIANO 1 and PIANO 2 parts on separate pages (3 pages each). Duration is just under 2 minutes. This arrangement is one of the 5 spirituals in the collection Five Joyful Tunes for Two Pianos.The lyrics for this song were inspired by the words found in Psalm 1: Blessed is the man who doesn’t walk in the counsel of the wicked…but his delight is in Yahweh’s law…He will be like a tree planted by the streams of water… (WEB)Lyrics:I shall not be moved,I shall not be moved,I shall not be moved,Like a tree planted by the water,I shall not be moved.When my cross is heavy,I shall not be moved,When my cross is heavy,I shall not be moved,Like a tree planted by the water,I shall not be moved.

2 Pianos,4 Hands,Piano Duet - Level 4 - Digital Download SKU: A0.1128421 Composed by Richard Simm. Arranged by Richard Simm. Chamber,Classical,Folk,Multicultural,Traditional,World. Score. 4 pages. Richard Simm #729041. Published by Richard Simm (A0.1128421). In the freezing Icelandic winter, a cold and hungry raven wonders what on earth a poor soul is supposed to eat. Following his nose, he gets lucky and finds a dead sheep near a garden.

Instrumental Duet Instrumental Duet,Piano - Level 1 - Digital Download SKU: A0.721088 Composed by Hanby, Benjamin. Arranged by Anne L Christopherson GRSM ARCM. Christmas,Concert. Score and parts. 4 pages. Music-Scores.com #3879915. Published by Music-Scores.com (A0.721088). Up on the Housetop is a popular carol for children. Ho ho ho, down he goes, through the chimney with lots of toys. For Piano Duet.Playing time under a minute.Arranged by Anne Christopherson at https://www.music-scores.com

Instrumental Duet Instrumental Duet,Piano - Level 2 - Digital Download SKU: A0.945801 Composed by Wolfgang Amadeus Mozart. Arranged by Giulio Castronovo. Classical,Contemporary. Score and parts. 5 pages. Giulio Castronovo #6169431. Published by Giulio Castronovo (A0.945801). At the end of 1784 Mozart was for the first time admitted to a Viennese Masonic lodge. In 1785, he composed a Masonic funeral music. In his own catalogue of works, Mozart listed the work as composed on the death of brothers Mecklenburg and Esterházy.This short but extremely poignant work is often seen as stepping-stone between the Great Mass in C minor and the Requiem. Although the C minor key gives the piece an unquestionable funereal character, its conclusion is serene, thanks to the final C major chord.This arrangement of Mozart's Masonic Funeral Music for piano duet is perfect for enjoying it at home, for study/analysis purposes, for conducting classes.

Instrumental Duet Instrumental Duet,Piano - Level 4 - Digital Download SKU: A0.740006 Composed by Erik Satie (1866-1925). Arranged by Len Rhodes. 20th Century,Concert,Graduation. Score and parts. 5 pages. Len Rhodes Music #5198065. Published by Len Rhodes Music (A0.740006). Satie - Gnossiennes no. 1, transcribed for piano duet. The melodic line is shared between the hands in the upper part - I have included the acciaccatura's, but these can be omitted if too challenging. The lower player has the chord progression, as Satie intended, only shared between the hands. Arranger's note: Erik Satie often added whimsical instructions to his music: Light as an egg, Here comes the lantern, Open your head,Muffle the sound, Work it out yourself, etc. I have included, and translated, those he applied to this piece.

1 Piano,4 Hands,Piano Duet - Level 1 - Digital Download SKU: A0.899025 Composed by Rosanne Irene Brown. Contemporary. Score. 9 pages. Rosanne Irene Brown #3629061. Published by Rosanne Irene Brown (A0.899025). These five movements are all based on themes meowed by my parents' talented tom cat. He sings about himself and his opinionated feline friends, Fluffy and Pepper, who are only too glad to listen. The words delight cat-loving audience members and can be sung along, even on recital, for a nice mix of a classical sound and good humor. The set includes one simple duet which can be learned by an early intermediate student but is not essential to the composition. Meet the composer and ask any questions you may have, at https://facebook.com/rosanne.brown.71 

Composed by James Mountain. Arranged by Tracey Craig McKibben. Sacred. Score, Set of Parts. 7 pages. Published by Tracey Craig McKibben (S0.19389). - Score,Set of Parts - Sacred - Tracey Craig McKibben

Composed by James Mountain. Arranged by Johannah Miller. Christian, Gospel, Spiritual, Sacred, General Worship. Individual Part, Sheet Music Single, Solo Part. 4 pages. Published by Johannah Miller (S0.236321). - Individual Part,Sheet Music Single,Solo Part - Christian,Gospel,Spiritual,Sacred,General Worship - Johannah Miller

Composed by James Mountain. Arranged by Tracey Craig McKibben. Sacred, Wedding, Funeral, Recital. Score, Set of Parts. 7 pages. Published by Tracey Craig McKibben (S0.132347). - Score,Set of Parts - Sacred,Wedding,Funeral,Recital - Tracey Craig McKibben

Choral Choir,Choral,SATB Chorus - Level 4 - Digital Download SKU: A0.1429535 Composed by Kevin G. Pace (ASCAP), Kathryn W. Hales. Christian,Christmas,Praise & Worship,Religious,Sacred. 3 pages. Kevin G. Pace #1010232. Published by Kevin G. Pace (A0.1429535). A notable, sacred Christmas hymn with music by Kevin G. Pace and text by Kathryn W. Hales.Text:The sounds of that holy, sacred nightBegan with moans of pain,Mary cried out as all mothers do,From the straw where she had lain.She was young, but knew God’s will:Become the mother of His Son, He came to earth as all men do,Born to be The Anointed One.   Another sound broke through the night,A whimper from a newborn babe,In Bethlehem so long ago,Where in a manger He was laid.He cried as all babies do,But cradled in His mother’s care,He left heaven’s glory to reside,In a world of dark despair. Songs rang out that joyous night,As angels came down to Judah’s hills,And choirs proclaimed the wondrous birth,And the heavens their voices filled.“Peace on earth, good will to men,”Were the glad tidings of great news.The Word of God manifest in flesh,Would proclaim His gospel’s truths. Then Mary’s song that holy night,Became a lullaby of joy,As she gazed with wondermentAt this child, her precious baby boy,Hers to hold but for a time,Soon His Father’s work to do,On earth becoming Savior Lord,To live and die for me and you. Chorus:Sounds of that sacred nightHeard by so very few,Now ring forth from land to land,Announcing again the joyous news.The sounds and songs that holy night,We celebrate at Christmas time,The song of love that Christ was born,Song of love, O Love Divine!

Piano Solo - Digital Download SKU: A0.976872 Composed by Monica Bergo. Children,Contemporary,Halloween. Score. 8 pages. Monica Bergo #3240587. Published by Monica Bergo (A0.976872). 2017 Holiday Contest Entry♫ *'¯` * • .¸¸. ♫ ♫ Witches *'¯` * • .¸¸. ♫   It seemed a day so, like many others,   I wake up and commitments   already there are pressing   who asks, who call,   they have all need   leave me alone   want my dream   Today, I'm sorry,   but is not the day   from these chains I feel disconnected   and run happy   in the thick of the wood   I reach my nest   my hidden place   I never afraid in the woods at night   With they  I find again  the right atmosphere   and there, around the fire   there is my family   the only, the true   that resembles me the most   And in my reflection   are barefoot and shabby   but just so , I feel myself   and while we wait   something to happen   dolls in hand   we look for a prey   if in the Middle Ages  they had burned us   stronger and bad   now we are back   Between 1000 potions   between powders and concoctions   we here manufacture  the strange mixtures   And dance around the fire   Of us,  cares little to you   we are ugly, we are ungainly   we are dirty and unkempt   and turned, turned around,   there is a place in the world   where it does not matter   the look and appearance.   And while we intone the  chants  to the moon   a strange mantra to bring good luck   I feel observed   because there hidden   he's , he followed me in the thick of  wood   I stop petrified   and now I'm afraid   because he knows nothing of my dark half   and I see the contempt   I can see it in his face   and I have a heavy heart   tears soaked-....   What I could say   I would tell him do not go   while time seems to stop   a moment seems eternal....   But who cares   half woman   half witch   If really you're interested   maybe you love me the same....   and I look at you  go away   in my eyes nostalgy   and a tear goes   I think of what will not be   strange actress consumed   identity lost   I try wherever my part   always change my fate.   And watch you disappear   something inside me dies   I would like an elixir of love   it gives you back &n.

Piano Solo - Digital Download SKU: A0.1012708 Composed by Monica Bergo. Contemporary. Score. 11 pages. Moni Bergo #5742971. Published by Moni Bergo (A0.1012708). Music and song composed by me♫ *'¯` * • .¸¸. ♫ ♫ Witches *'¯` * • .¸¸. ♫   It seemed a day so, like many others,   I wake up and commitments   already there are pressing   who asks, who call,   they have all need   leave me alone   want my dream   Today, I'm sorry,   but is not the day   from these chains I feel disconnected   and run happy   in the thick of the wood   I reach my nest   my hidden place   I never afraid in the woods at night   With they  I find again  the right atmosphere   and there, around the fire   there is my family   the only, the true   that resembles me the most   And in my reflection   are barefoot and shabby   but just so , I feel myself   and while we wait   something to happen   dolls in hand   we look for a prey   if in the Middle Ages  they had burned us   stronger and bad   now we are back   Between 1000 potions   between powders and concoctions   we here manufacture  the strange mixtures   And dance around the fire   Of us,  cares little to you   we are ugly, we are ungainly   we are dirty and unkempt   and turned, turned around,   there is a place in the world   where it does not matter   the look and appearance.   And while we intone the  chants  to the moon   a strange mantra to bring good luck   I feel observed   because there hidden   he's , he followed me in the thick of  wood   I stop petrified   and now I'm afraid   because he knows nothing of my dark half   and I see the contempt   I can see it in his face   and I have a heavy heart   tears soaked-....   What I could say   I would tell him do not go   while time seems to stop   a moment seems eternal....   But who cares   half woman   half witch   If really you're interested   maybe you love me the same....   and I look at you  go away   in my eyes nostalgy   and a tear goes   I think of what will not be   strange actress consumed   identity lost   I try wherever my part   always change my fate.   And watch you disappear   something inside me dies   I would like an elixir of love   it gives you back  

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.532733 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque. 22 pages. Musik Fabrik Music Publishing #1919. Published by Musik Fabrik Music Publishing (A0.532733). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...