Acoustic Guitar,Instrumental Duet,Voice - Level 4 - Digital Download SKU: A0.1369426 By Cecilia Bartoli. By Benedetto Marcello. Arranged by Terry Carpenter. Baroque. 17 pages. Terry Carpenter #953783. Published by Terry Carpenter (A0.1369426). Transcription for classical guitar of a lyrical aria extract from volume one of the famous Aria Antiche by Alessandro Parisotti. I have added a tablature of the guitar part and the chords. Thus, no need for a piano: you can sing and accompany yourself on the beach or near the campfire! If the guitar part seems sometimes difficult, play the chords - it works!I didn't always respect the constraint of transcribing in first position, and it would have been a shame to ignore certain melodic movements.Listen to the version of Cecilia Bartoli to get the right feeling, on the YouTube link belowOn the pdf, you will find the score, the voice part, the guitar part and a guitar and tablature part.The mp3 was made by musical software.Contact: carpentermusic@yahoo.com.

Acoustic Guitar,Instrumental Duet,Voice - Level 4 - Digital Download SKU: A0.1473492 By Alessandro Parisotti. By G.B. Pergolesi (1710 - 1726). Arranged by Terry Carpenter. Baroque. 19 pages. Terry Carpenter #1051291. Published by Terry Carpenter (A0.1473492). Transcription for classical guitar of a lyrical aria extract from volume one of the famous Aria Antiche by Alessandro Parisotti. I have added a tablature of the guitar part and the chords. Thus, no need for a piano: you can sing and accompany yourself on the beach or near the campfire! If the guitar part seems sometimes difficult, play the chords - it works!The tempo suggested by Parisotti is, in my opinion, too fast. You will get more pleasure and emotion slowing down it as I suggest (YouTube link)On the pdf, you will find the score, the voice part, the guitar part and a guitar and tablature part.The mp3 was made by musical software.Contact: carpentermusic@yahoo.com.

Acoustic Guitar,Instrumental Duet,Voice - Level 4 - Digital Download SKU: A0.1336173 By Alessandro Parisotti. By Domenico Scarlatti. Arranged by Terry Carpenter. Baroque. 15 pages. Terry Carpenter #922007. Published by Terry Carpenter (A0.1336173). For Voice and classical guitarTranscription for classical guitar of a lyrical aria extract from volume one of the famous Aria Antiche by Alessandro Parisotti. I have added a tablature of the guitar part and the chords. Thus, no need for a piano: you can sing and accompany yourself on the beach or near the campfire! If the guitar part seems sometimes difficult, play the chords - it works!Listen to Primrose music version on the YouTube link below.On the pdf, you will find the score, the voice part, the guitar part and a guitar and tablature part.Contact: carpentermusic@yahoo.com.

Easy Piano - Level 1 - Digital Download SKU: A0.1404470 By Elizabeth Essex. By Elizabeth Essex. Arranged by Elizabeth Essex. Children,Halloween,Holiday,Instructional,Thriller. Score. 18 pages. Elizabeth Essex #987552. Published by Elizabeth Essex (A0.1404470). It was a dark and stormy night…� is a collection of songs-writing templates centered around the theme of telling stories around a campfire. Full of spooky-sounding flats and staccato jump-scares, these late primer level songwriting templates work around a basic call-and response framework. The first and every other measure of music are provided; the blank measures are an invitation for the student to add in their own unique creations. I usually suggest the song end on a “C� key and offer similar guidance along the way.The song templates are sequenced in order of difficulty to read and play; each includes a variety of interesting composing problems for primer-level pianists:Rain Storm - harmonic seconds, thirdsLittle Surprise - staccatosCampfire Story - eighth note pairs, repeat barBlack Cats and Bats - flats, quarter restsPumpkin Carving - 3/4 time signaturePotions and Poisons - slurs into staccato groupsCostume Party - review of flats, secondsVampires vs. Zombies - review of flats, seconds, eighth note pairsCandy Bucket - intro to eighth note groups See my other arrangements: Sheet Music Press (copyrighted music available)https://www.sheetmusicplus.com/publishers/elizabeth-essex-sheet-music/3018847Sheet Music Direct (copyrighted music available)https://www.sheetmusicdirect.com/en-US/Search.aspx?query=Elizabeth EssexTop Music Marketplace (piano studio licenses available)https://topmusicmarketplace.com/pages/seller-profile/elizabeths-music-artsTeachers Pay Teachers (classroom licenses available)https://www.teacherspayteachers.com/Store/Elizabeths-Music-And-ArtsTo commission an arrangement or set up Zoom piano or art lessons, contact Elizabeth: https://elizabethmusicnarts.wordpress.com

Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1158398 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,Historic,Patriotic. 18 pages. Https://gildedmusicpress.com/ #758679. Published by https://gildedmusicpress.com/ (A0.1158398). Composed to commemorate the 20th year of the 9-11 terrorist attacks. This somber, gorgeous piece of music draws tears when presented correctly, and is an extraordinarily important contribution to the brass quintet repertoire. The Jewish “feast� (or “appointed time�) of trumpets, as outlined in Leviticus 23:24-25, prescribes the observance: “Speak unto the children of Israel, saying, In the seventh month, in the first day of the month, shall ye have a sabbath, a memorial of blowing of trumpets, an holy convocation. Ye shall do no servile work therein: but ye shall offer an offering made by fire unto the Lord.� According to the Jewish calendar, the feast of trumpets in 2001 coincided exactly with the 9-11 attacks, which could indeed be thought of as “an offering made by fire.� Effectively no servile work was done on that day throughout the attacked nation, and it has indeed become a somber type of “sabbath� to observe every year. It seemed extraordinarily appropriate—perhaps even requisite—that a somber composition with trumpets be composed for the 20th annual observance of the horrific attacks on American soil, as a “Memorial� to those lost that day, and those who since perished in the Global War on Terror. “Where were you when you first heard about the 9-11 attacks?� This common question is posed to those who were of age to comprehend what had happened in 2001. Personally, I had just listened to an emotional rendition of Maurice Ravel’s “Pavane to a Dead Princess.� Elements of that musical memory influenced this present work “Memorial.� Other sources of inspiration—whether intended or subconscious—include Samuel Barber’s heart-wrenching “Adagio for Strings,� Michael Kamen’s “Quintet� for brass, and John Williams’ “Hymn to the Fallen.� The harmonies are thick and often dissonant, including many suspensions. The players get little rest, symbolic of the constant state of alertness of a shocked nation after being so brutally attacked. Perhaps of greatest symbolic import is the fact that there are exactly 911 notes in this composition. Because of this, it is crucial that the percussion part be performed, and that great care be taken by all performers to refrain from altering the notes or rhythms in any way. A comment on the interpretation of notation: all long notes that are tied to a staccato note on the downbeat are to be held to the downbeat and gently released, not held over.

Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.1171401 Composed by Roger Quilter. 20th Century,Classical. Octavo. 24 pages. Forsyth Brothers Ltd #771738. Published by Forsyth Brothers Ltd (A0.1171401). A delightful early opus from one of the most individual English songwriters of the Twentieth Century, Roger Quilter (1877-1953). The texts are taken from the works of Seventeenth Century English poet Robert Herrick (ca 1591-1674) whose lyrics Quilter also set to music in his Opus 8 song-cycle To Julia (1905). The Opus 7 settings are dedicated to Quilter's friend Percy Grainger.FIVE LYRICS OF ROBERT HERRICK (SATB & Piano): Cupid A Dirge Morning Song To Electra To Violets  CupidLove, like a beggar came to meWith hose and doublet torn;His shirt bedangling from his knee,With hat and shoes outworn. He asked an alms; I gave him bread,And meat too for his need,Of which, when he had fully fed,He wished me all good speed.Away he went, but as he turned,In faith I know not how,He touched me so, as that I burnedAnd am tormented now. Love’s silent flames and fires obscureThen crept into my heart;And though I saw no bow, I’m sureHis finger was the dart. A DirgeHere she lies, in bed of spice,Fair as Eve in ParadiseFor her beauty was suchPoets could not praise too much.Virgins come, and in a ringHer supremest requiem sing.Then depart but see ye treadLightly, lightly o’er the dead.Morning Song Let's now take our time,While we're in our prime,And old, old age is afar off:For the evil, evil daysWill come on apace,Before we can be aware of. To ElectraI dare not ask a kiss;I dare not beg a smile;Lest, having that or this,I might grow proud the while. No, no, the utmost shareOf my desire shall beOnly to kiss the airThat lately kissèd thee. To VioletsWelcome, maids of honour!You do bringIn the SpringAnd wait upon her She has virgins manyFresh and fair;Yet you areMore sweet than anyY'are the maiden posiesAnd so graced,To be placed'Fore damask roses.Yet though thus respectedBy and byYe do lie,Poor girls, neglected.

Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1255098 Composed by Ross Fiddes. 21st Century,Chamber,Classical,Contemporary. Score. 25 pages. Ross Fiddes #848692. Published by Ross Fiddes (A0.1255098). It was in the aftermath of the 2020 summer bushfires in Australia that soprano Ayse Goknur Shanala rang me from Cyprus to suggest I compose a work about climate change, a subject of concern for me.  My research for lyrics did not elicit anything I considered suitable, so I turned to Derek Dowding, a local poet, singer, actor, raconteur, and a person vitally interested in the future of humanity and of the planet.Derek and I had worked together before – he brilliantly performed the role of Abelard in the workshopping and concert performances of my hybrid opera “Abelard and Heloise�, which, in 1997, won the supreme CONDA (City of Newcastle Drama Award)  for ‘Outstanding Achievement in Newcastle Theatre’ against some 200 other stage productions in Newcastle’s bi-centenary year.Derek worked long and late on the lyrics for the work, producing an emotional document covering history, cause and effect.  His words produced musical responses from me which I consider react appropriately to both his words and the subject matter. I hope our listeners will agree.For the musical treatment I had to consider that the length of the work, through-sung, 20+ minutes, required a recurrent grounding to avoid too many thematic ideas getting in the way of the words.  To that end, I created a quasi-reflective section which appears, rondo-style, quite a few times during the length of the piece.  And, for further cohesion, I built an ABA (ternary) section early to address certain word structures.  Mostly, the various sections followed the stanza structure provided by Derek, with some combinations.  My musical style is essentially melodic, but with dramatic and other episodes, be they tonal, astringent, harmonically indecisive and so on.  In building the work I was principally influenced by the impact and flow of the words.The work is quite mammoth for both the singer and the pianist.  I was absolutely delighted that Anna Fraser again premiered a work of mine – in 2015 she marvellously premiered another major composition of mine, reviewed here:  http://soundslikesydney.com.au/reviews/concert-review-the-man-in-the-other-roomacacia-quartetanna-fraser/19830.htmlWe can only hope that the new work ultimately adds to the chorus of warnings and concern about the climactic future that awaits if we continue to ignore or postpone dramatic and urgent attention to addressing the causes of climate change.A living orb cloaked white and blue and greenRevolving and evolving, tight-hugged in orbit flightWe ride her back; dependent, fragile offspring.Suckling all the while …but have we bonded?A world unlike any other world we’ve seenGifted with Water, Air, Earth and perfect Light.The essentials of life. Freely, these gifts she brings.Free for all but how have we responded?                                                                     Poem© 2020 Derek DowdingRoss FiddesJanuary 2023.

String Orchestra - Level 4 - Digital Download SKU: A0.742492 Composed by George Frideric Handel. Arranged by Arte Nova Music Lab. Baroque,Concert,Standards,World. Score and parts. 57 pages. Arte Nova Music Lab #5041947. Published by Arte Nova Music Lab (A0.742492). Around the year 1726, John Walsh, a London music publisher, created a wonderful forgery in order to run around the copyright laws of the day: he pretended to pirate an edition supposedly published by the House of Roger in Amsterdam. This forgery included 12 Sonatas for solo instrument and continuo which had been composed by one George Frideric Handel (1685-1759). Around 1793 the House of Arnold published the same set, omitting two of the original 12 and replacing them with two others by Handel. So at this point there were a total of 14 solo sonatas available to the public.In the year 1879 Friedrich Chrysander issued these 14 works and several others in volume 27 of the German Handel Society’s Gesamtausgabe of Handel’s works. Since then they have been edited from this scholarly work many times, and afflicted by all sorts of permutations which reflect the various styles of performance in vogue over the years. One finds editions stripped of ornamentation but loaded with articulation and dynamic markings at one end of the spectrum, and editions with modest stenographic and florid ornamentation at the other. The Sonata in C Minor (London: 1712) is a pure example of the middle phase of the solo sonata da chiesa [church sonata]. The first three movements are indicative of the style found in sonatas derived from the disruptive canzona of the early 17th century. An initial slow movement with walking bass is followed by an imitative movement (in this case, a fugue with a chromatic subject), which in turn leads to an Adagio. This latter movement in the relative major is a ricercare containing several imitative entrances. The finale is a spirited binary-form Bourrée angloise, an item taken over from the French ordre or dance suite. The extraordinarily short length of this movement seems to indicate that a trio is missing here; therefore, I have added the bourrée from the Royal Fireworks Music of 1749 to act as a trio, but players are certainly free to omit it. Adding a series of variations based on the chord changes of the Bourrée angloise would be an alternative way to lend weight to this final movement.Taken from https://www.idrs.org/scores/Lehrer/DRArch/69HandelSonataCm.html

Small Ensemble Drums,Vibraphone - Level 3 - Digital Download SKU: A0.867539 Composed by Various (see description). Arranged by K Davies. 20th Century. Score and parts. 68 pages. Bandmusic.co.uk #3602663. Published by Bandmusic.co.uk (A0.867539). A fresh arrangement of WW1 favourites including Oh! I hate to get up in the morning (I Berlin), Pack up your troubles (F Powell), It's a long way to Tipperary (J Judge & H Williams), Keep the home fires burning (I Novello), In Flanders field (J P Sousa), Goodbye-ee (R P Weston & B Lee), Take me back to dear old Blighty (A J Mills, F Godfrey & B Scott). (Duration 6:05 with repeats and optional ending).

Brass Ensemble - Digital Download SKU: A0.883784 By Earth Wind and Fire. By Allee Willis, David Babyface Foster, and Maurice White. Arranged by Phil Lawrence. R & B. Score and parts. 72 pages. Phillip Lawrence #4755867. Published by Phillip Lawrence (A0.883784). I was at college in the late 70’s (RNCM) and the brass dep fave groups were EWF (and Maynard), we formed a band, brass and rhythm section called Brass Injection where the members of the band arranged EWF/Maynard/Blood Sweat and Tears/Steele Dan and the like. (5 tpts, 4 troms, tuba, rhythm section). We colleges giggled, Manchester gigged, and after 4 years we ended up in Ronnie Scott’s. In The Stone seemed to be a must for brass band and difficult dictation and I don’t like to leave things out or simplify. So I’m starting an EWF collection with September and Fantasy to come soon. The semiquaver syncs will take some time to give it the relaxed feel especially in the bass dep. Here’s to the memory of Brass Injection and RNCM days.

Piano Solo - Level 5 - Digital Download SKU: A0.828227 Composed by John Hatton. Arranged by Paul Thurmond. 20th Century,Baroque,Christian,Sacred. Score. 7 pages. Paul Thurmond #4968929. Published by Paul Thurmond (A0.828227). Tune: DUKE STREETUse: Prelude, PostludeOne Sunday my church was singing Jesus Shall Reign Where’er the Sun as the opening hymn. It’s our tradition that the last stanza of a hymn is sung in unison, so that I as the organist can change the harmonization and keep things interesting. Sometimes I know ahead of time what I’m going to do, and sometimes I make it up on the spot.On this particular morning I planned on being spontaneous. (Can spontaneity be planned?) When we got to the final stanza, I threw on the 16′ pedal reed and went to town.I don’t know if this is the case for all musicians, but while I’m playing my brain is working on several different levels. Most of these are involved in actually playing the music, but there’s also a running commentary on how things are going. This commentary is usually really boring: It’s going okay. It’s going okay. It’s going okay. Sometimes the messages are more interesting: Uh-oh. She just dropped her mute. I missed that chord; remember to circle it when we’re done. My page turner appears to be on fire.So: We’re in the final stanza of Jesus Shall Reign Where’er the Sun. Big, majestic hymn. Over a hundred congregants and choir members are enthusiastically singing in unison. I’m leading them from the organ with an improvised accompaniment that involves all of my limbs. It’s fair to say that I was concentrating hard.Suddenly the commentary part of my brain breaks in: Dude, your feet are totally playing Canon in D. Cool!Canon in D is the most famous work of Johann Pachelbel, a German composer who preceded Bach by a few decades. It’s overused at weddings, but it’s actually a really good piece of music. The original is for three violins and a basso continuo part, which would usually have been played by harpsichord and cello. In this case, the basso continuo plays the same eight measures again and again throughout the piece. This technique of repetition is called a ground bass. While that’s going on, the violins play several different themes on top of it.When I was improvising that Sunday, my feet had accidentally wandered into that ground bass part, which happened to fit nicely with the melody we were singing. During the sermon (sorry Pastor!) I started going through the violin themes in my head, seeing if any of them could also match up with the hymn tune. Some of them worked and some didn’t. I decided to write a sort of theme and variations, where the hymn tune appears in various forms. Sometimes it’s played along with one of the violin themes, and sometimes a violin theme serves as an interlude on its own. And except for one passage, the left hand is always playing some version of the basso continuo theme. I also changed the meter from 4/4 to 3/4 to make it more interesting. It culminates in a climax worthy of a king. I hope you enjoy it.

SATB chorus a cappella - Digital Download SKU: BJ.1337 Composed by Anders Jormin. Octavo. 8 pages. Bo Ejeby Forlag - Digital #1337. Published by Bo Ejeby Forlag - Digital (BJ.1337). 8.27 x 11.7 inches.Doubt thou the stars are fire, Doubt that the sun doth move, Doubt truth to be a liar, But never doubt I love.This moving declaration of love by William Shakespeare comes from his play Hamlet, act 2, scene 2. Whenever there are seemingly no words, these might do justice to the sentiments involved. - Anders JorminDoubt Thou the Stars is recorded by the Polish choir Camerata Silesia and Anders Jormin on the album Ama (Footprint Records FRCD094).

Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.701736 Composed by Kevin G. Pace (ASCAP), Mark R. Fotheringham. Christian,Praise & Worship,Sacred. Octavo. 2 pages. Kevin G. Pace #3363271. Published by Kevin G. Pace (A0.701736). An original hymn for SATB voices with text by Mark Fotheringham below. Dedicated to pioneers, the early Utah Mormon pioneers in particular.YouTube video: https://youtu.be/9JVJAuc7P_ABless this arm, keep it sound, as I turn this desert ground. Water flows from mountain stream. By Thy Hand, this land redeem. Sanctify all who toil, blessing all that grows. Let the desert now rejoice, blossom as the rose.   Bless all seeds, as I sow. Let them here take root and grow. Send Thy rains from up above, warming sunshine filled with love. May the toil of these hands, bring Thy blessings close. Let the desert now rejoice, blossom as the rose.   Fire or frost, wind or rain; may my work not be in vain. Help me prosper ev'ry day. Keep the locust still at bay. Through each trial, help me stand, in Thy strength repose. Let the desert now rejoice, blossom as the rose.   In my soul, deserts be, waiting to be turned by Thee. Let Thy blessing as the rain, open up my heart again. May the Lord, bless my toil, ev'ry weed dispose. Let the desert now rejoice, blossom as the rose.

Piano Solo - Level 4 - Digital Download SKU: A0.1200911 By Bradley Sowash. By Bradley Sowash. 20th Century,Classical,Contemporary,New Age. Score. 6 pages. Bradley Sowash #799568. Published by Bradley Sowash (A0.1200911). Quietly centering Like a recentering exhale, this calm, yet sophisticated piece leaves the listener feeling somehow the wiser with both feet planted firmly on the ground.Composer’s note:ELEMENTS was created during a visit to the Pacific Northwest, where the natural world exhibits an unusual intensity and the elements are quite prominently display.  With this music I hope to capture the contrasts between the four elements as well as the dual natures within each of them.  Water, for example, is both a source of life and potentially dangerous.  Air is both breath and wind.  Fire comforts or burns.  Only Earth seemed to me continuous and dependable.