Small Ensemble High Voice,Medium Voice,Piano Accompaniment,Trumpet - Digital Download SKU: A0.904699 Composed by George Frideric Handel. Arranged by Matthew Ryan Ross. Baroque,Opera. Score and parts. 5 pages. Matthew Ryan Ross #3364749. Published by Matthew Ryan Ross (A0.904699). Rinaldo (HWV 7) is an opera by George Frideric Handel, composed in 1711, and was the first Italian language opera written specifically for the London stage. The libretto was prepared by Giacomo Rossi from a scenario provided by Aaron Hill, and the work was first performed at the Queen's Theatre in London's Haymarket on 24 February 1711. The story of love, war and redemption, set at the time of the First Crusade, is loosely based on Torquato Tasso's epic poem Gerusalemme liberata (Jerusalem Delivered), and its staging involved many original and vivid effects. It was a great success with the public, despite negative reactions from literary critics hostile to the contemporary trend towards Italian entertainment in English theatres.This aria, from Act III of the original 1711 production, is arranged for trumpet, piano, and voice, this arrangement embodies the full orchestral feel of Handel's famous aria as well as creating the most efficient performance mark up for the voice. This arrangement is the only one in existence of its kind and is sure to make an amazing addition to your vocal performance repertoire whether you are an aspiring student or a seasoned opera vocalist.

Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.720537 Composed by Ralph Raymond Hays. 20th Century,Concert,Contemporary. 37 pages. Ralph Raymond Hays #3584631. Published by Ralph Raymond Hays (A0.720537). Finalist in a composition competition sponsored by the London Chamber Group and premiered in London, this inventive and charming suite is certain to delight audiences with it's wit and warmth. I. WaltzII. MeditationIII. Fugue.

Oboe Solo - Level 4 - Digital Download SKU: A0.927664 Composed by Joseph Hollings. 20th Century,Contemporary. Individual part. 3 pages. Joseph Hollings Publishing #6683341. Published by Joseph Hollings Publishing (A0.927664). Duration: approx 4:00The Cry of Beltane for solo oboe was written for and premiered by an advanced, young oboe student, Leo Sherwood, and first performed in May 2017 as part of the Cleveland Composers Guild’s Creativity: Learning through Experience program. The piece was the program opener and is ideally suited to open a recital.Beltane is the anglicized name of the Celtic festival held on May Day, a pagan festival signifying the beginning of summer. The piece is intended to evoke a ritualistic, call to summer; a crying out and calling forth of sun and growth. The piece should sound aggressive and the oboe should aim to make the most of its harder-edged timbre, rather than its lyrical qualities. While the notation is precise, the piece should sound as if the performer had improvised it. The bigger the contrast in dynamics the better.Joseph Hollings (ASCAP) is a composer, arranger and music educator, and has taught music to students of all levels for over twenty five years. His arrangements have been performed internationally, including in London's West End, and have been recorded by the Onyx Brass Quintet and members of the Cleveland Orchestra. He studied composition with Harrison Birtwistle at King's College London, worked for the D'Oyly Carte Opera Company, and established Really Nearly Records with the ever-imaginative Tim Ten Yen. Joseph Hollings is a member of ASCAP. Learn more about the composer at www.josephhollings.com Follow on TikTok @TikTokComposerFollow on Instagram @josephhollings

Concert Band - Level 3 - Digital Download SKU: A0.1398112 By Dire Straits. By Mark Knopfler. Arranged by Lorenzo Bocci. Folk,Pop,Rock. 126 pages. Lorenzo Bocci #981437. Published by Lorenzo Bocci (A0.1398112). SULTANS OF SWING Performed by Dire Straitsfor Concert Band (with Fanfare Band parts) - Grade 3 - Digital Download Composed by Mark Knopfler. Arranged by Lorenzo Bocci. Pop/Rock. Concert Band - Blasorchester - Harmonie. Score and parts. With Fanfare Band parts. Duration 5'01''. Published by Lorenzo Bocci.Create The Best of Dire Straits with:- Money For Nothing - YouTube ScorePlay - Sheet Music Direct - Sheet Music Plus- Sultans Of Swing- Walk Of Life - YouTube ScorePlay - Sheet Music Direct - Sheet Music PlusInstrumentation:Full Score, Flute 1, 2, Oboe, Bassoon, Eb Clarinet, Bb Clarinet 1, 2, 3, Bb Bass Clarinet, Eb Alto Saxophone 1, 2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, 2, 3, F Horn 1, 2, 3, 4, Trombone 1, 2, Bass Trombone, Euphonium, Bass, Electric Bass, Drum Set, Percussion (Congas, Tambourine), Electric Guitar, Keyboard.Additional Parts:Bb Soprano Saxophone (CB, FA), Eb Horn 1, 2, 3, 4, Bb Trombone 1, 2 T.C., B.C., Bb Bass Trombone T.C., B.C., Bb Euphonium T.C., B.C., Bb Bass T.C., B.C., Eb Bass T.C., B.C.Fanfare Band Parts:Eb Cornet, Bb Flugelhorn 1, 2, 3.Sultans of Swing is a song by British rock band Dire Straits, written by lead vocalist and guitarist Mark Knopfler. The demo of the song was recorded at Pathway Studios, North London, in July 1977 and quickly acquired a following after it was put in rotation on BBC Radio London. Its popularity soon reached record executives, and Dire Straits were offered a contract with Phonogram Records. The song was then re-recorded in February 1978 at Basing Street Studios for the band's eponymous debut album.Subscribe to my YouTube Channel to stay updated on new releases.

Soli: SAATBB – Chor: SSAATB – 2Blfl.B-Fl.2.0.0. – 0.2.0.0. – Pk – Str – Bc mixed choir (SATB/SATB), soloists (SATB) and orchestra - Digital Download SKU: S9.Q7080 Hail! Bright Cecilia. Composed by Henry Purcell. This edition: study score. Choral music - ernst eulenburg - score. Eulenburg Miniature Scores. Downloadable, Study score. Duration 60 minutes. Ernst Eulenburg & Co. GmbH - Digital #Q7080. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q7080). German • English • French.An annual London celebration of the patron saint of music, in the form of a banquet plus the performance of an ode, was instituted on St. Cecilia’s Day, 22 November 1683. The occasion proved so popular that it continued for some 30 years after. A newspaper account of the first performance of the 1692 Ode informs us that 'the Ode was admirably set to music by Mr. Henry Purcell, and perform’d twice with universal applause'. The popularity of Purcell’s setting is apparent from the many sources that survived from the period and from printed extracts which appeared almost immediately after its first performance. The editor, Christopher Hogwood, is the founder-director of the Academy of Ancient Music with whom he has made over 200 recordings. He is Honorary Professor of Music at the University of Cambridge and Visiting Professor at the Royal Academy of Music, London.Un compte rendu de la première représentation nous informe que l'ode était admirablement mise en musique par Mr Henry Purcell (...) et qu'elle fut exécutée deux fois sous les plus grands applaudissements. La popularité de la composition de Purcell ressort des nombreuses sources qui nous sont parvenues et des critiques parues après la première.

B-Flat Bass Clarinet,Piano - Level 5 - Digital Download SKU: A0.1101754 By Alison Eales and Anna le Hair. By James Marshall. 20th Century,Classical,Contemporary,Contest,Festival,Multicultural,World. Score and part. 30 pages. James Marshall Music #705136. Published by James Marshall Music (A0.1101754). Sonata Simplice (Simple Sonata) was composed for Alison Eales and Anna le Hair and premiered in Hitchin outside London on September 3, 2022. The piece takes shape in the first movement from utilization of motifs that comprise the opening thematic material, rather than an iconic theme. Comprising three movements, the second movement references the English folksong The Fair Flower of Northumberland. Set in 6/8 meter the movement is marked: Lento e cantabile, leggiero simplice (Slow and singing, lightly simple) enhancing the overall title of the piece. The final movement is lively and dancelike with both static and changing meters. This delightful offering will add to any adult recital, and is attainable by accomplished high school students as well. It follows the English Sonatina for young clarinetists (now published by Mel Bay in Lyrical Solos from the British Isles ... featuring the English Sonatina) premiered by Alison and Anna in London January, 2019.

Percussion Ensemble - Level 5 - Digital Download SKU: A0.962406 Composed by Salvador Rojo Gamón. Concert,Contemporary,Instructional,Standards. Score and parts. 173 pages. Salvador Rojo-Gamon #5801913. Published by Salvador Rojo-Gamon (A0.962406). Four ForcesReviewsScherzohttps://scherzo.es/badajoz-vanguardias-lugarenas/Periodico Extremadurahttps://www.elperiodicoextremadura.com/noticias/badajoz/fuerzas_1214372.html NotesThis work was commissioned by Extremadura Orchestra for Percussion and Chamber orchestra.It has two movements. The first one has been done for mallets and the second one was built on a base of a drums work (GEA).The duration of those movements is 26 minutes, being around 11 minutes the first and 15 minutes the second one.The chamber music is formed by:Woodwind quintet (Flute, Oboe, Clarinet, Horn & Bassoon)Brasswind quintet (Trumpet 1, Trumpet 2, Horn, Trombone & Tuba)Strings orchestraThree firsts violinsThree seconds violinsThree violasTwo cellosFor the second movement is high recommendable to enlarge the strings, a good number of musician could be doubling.I. Strong ForcesThe work is inspired by the four fundamental forces of nature. These forces explain any phenomena which can be produced in the universe.Throughout all composition, it is latent the mathematic construction based in the series Fibonacci. In the first of the movements, Fibonacci's series is present in the notes' sequence that forms the series of 16 sounds and it is going to be present throughout the whole work. This series is taking form along the movement and it is getting melody and harmony.Although it is far away from the sonata form, as we know it in its period of highest glory, it takes elements of it and updates to our days. In this movement, we can find sonata form elements as the exposition, development, transitions or coda.The central part of the first movement becomes in the slow movement, being more intimate and lyrical, free of the serials ties although it uses resources before cited -now called common practice-.The movement finish with a short re-exposition that concludes with the virtuosic of the soloist doubling the series and adding more tension until conforming the series in its full whole.II. Weak ForcesIt is the most tribal of both movements. Its structure is more complex and in it, we also can find clear reminiscences to the sonata form.We can divide the movement into two big blocks. The first one is formed for the introduction and sections one and two.IntroducciónIt is based in one ostinato of three notes where the accent is changing provoking unsymmetric, this ostinato represents the nucleus of our existence. The piccolo and the trombone introduce us to the human element representing the two elements that form the development of the whole movement.The two elements of thematics are taken from the series, the first one is easily recognizable because it appears in his primary form.First section & cadenzaIn this movement, the rhythm, the melody, and the harmony are based on the sequence of Fibonacci. As the theme ostinato of the soloist as the melody is formed under the rhythm of 1, 2, 3 and 5. This section leads us to the second section with a clear mode of cadence. In the cadenza, the elements of the rhythm are varied freely with an accompaniment of the Spring Drum.DevelopmentIt is formed by two Rondo sub-sections in which the solo part has been created through the mirror technique.Both sections have the next form:Intro-A-B-A-B-(B(minor)+A)Intro-A-B-A-B-(B(major)+A)First section & CodaThe movement ends with the repetition of the first section and the final code. 

Percussion Ensemble - Level 5 - Digital Download SKU: A0.962405 Composed by Salvador Rojo Gamón. Concert,Contemporary,Instructional,Standards. Score and parts. 255 pages. Salvador Rojo-Gamon #5801921. Published by Salvador Rojo-Gamon (A0.962405). Four ForcesReviewsScherzohttps://scherzo.es/badajoz-vanguardias-lugarenas/Periodico Extremadurahttps://www.elperiodicoextremadura.com/noticias/badajoz/fuerzas_1214372.html NotesThis work was commissioned by Extremadura Orchestra for Percussion and Chamber orchestra.It has two movements. The first one has been done for mallets and the second one was built on a base of a drums work (GEA).The duration of those movements is 26 minutes, being around 11 minutes the first and 15 minutes the second one.The chamber music is formed by:Woodwind quintet (Flute, Oboe, Clarinet, Horn & Bassoon)Brasswind quintet (Trumpet 1, Trumpet 2, Horn, Trombone & Tuba)Strings orchestraThree firsts violinsThree seconds violinsThree violasTwo cellosFor the second movement is high recommendable to enlarge the strings, a good number of musician could be doubling.I. Strong ForcesThe work is inspired by the four fundamental forces of nature. These forces explain any phenomena which can be produced in the universe.Throughout all composition, it is latent the mathematic construction based in the series Fibonacci. In the first of the movements, Fibonacci's series is present in the notes' sequence that forms the series of 16 sounds and it is going to be present throughout the whole work. This series is taking form along the movement and it is getting melody and harmony.Although it is far away from the sonata form, as we know it in its period of highest glory, it takes elements of it and updates to our days. In this movement, we can find sonata form elements as the exposition, development, transitions or coda.The central part of the first movement becomes in the slow movement, being more intimate and lyrical, free of the serials ties although it uses resources before cited -now called common practice-.The movement finish with a short re-exposition that concludes with the virtuosic of the soloist doubling the series and adding more tension until conforming the series in its full whole.II. Weak ForcesIt is the most tribal of both movements. Its structure is more complex and in it, we also can find clear reminiscences to the sonata form.We can divide the movement into two big blocks. The first one is formed for the introduction and sections one and two.IntroducciónIt is based in one ostinato of three notes where the accent is changing provoking unsymmetric, this ostinato represents the nucleus of our existence. The piccolo and the trombone introduce us to the human element representing the two elements that form the development of the whole movement.The two elements of thematics are taken from the series, the first one is easily recognizable because it appears in his primary form.First section & cadenzaIn this movement, the rhythm, the melody, and the harmony are based on the sequence of Fibonacci. As the theme ostinato of the soloist as the melody is formed under the rhythm of 1, 2, 3 and 5. This section leads us to the second section with a clear mode of cadence. In the cadenza, the elements of the rhythm are varied freely with an accompaniment of the Spring Drum.DevelopmentIt is formed by two Rondo sub-sections in which the solo part has been created through the mirror technique.Both sections have the next form:Intro-A-B-A-B-(B(minor)+A)Intro-A-B-A-B-(B(major)+A)First section & CodaThe movement ends with the repetition of the first section and the final code. 

String Ensemble,String Trio - Level 3 - Digital Download SKU: A0.576736 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #119391. Published by David Warin Solomons (A0.576736). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.

Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.576733 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #90581. Published by David Warin Solomons (A0.576733). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.

C Instrument - Level 2 - Digital Download SKU: A0.842476 By The Fray. By Isaac Slade and Joseph King. Arranged by Ben Clapton. Rock. Lead Sheet / Fake Book. 3 pages. Ben Clapton #4597303. Published by Ben Clapton (A0.842476). You Found Me was released by American rock band The Fray in 2008. It was their third single to sell 2 million downloads in the US, and marked The Fray's first number one hit in Australia.This is a lead sheet for the song, which has the melody and lyrics, and guitar chords. The song is written in B, and it has capo chords at capo 4 to utilise open chords.From Wikipedia:In an interview, lead singer and pianist Isaac Slade expressed his meaning behind the lyrics of the song:'You Found Me' is such a great song you should really listen to it. I love it as if it were my own child. The heart ache, the let down that comes with life. Sometimes you're let down, sometimes you're the one who lets someone else down. It gets hard to know who you can trust, who you can count on. This song came out of a tough time, and I'm still right in the thick of it. There's some difficult circumstances my family and friends have been going through over the past year or so and it can be overwhelming. It wears on me. It demands so much of my faith to keep believing, keep hoping in the unseen. Sometimes the tunnel has a light at the end, but usually they just look black as night. This song is about that feeling, and the hope that I still have, buried deep in my chest.In another interview Isaac Slade declared that:I kept getting these phone calls from home – tragedy after tragedy... If there is some kind of Person in charge of this planet – are they sleeping? Smoking? Where are they? I just imagined running into God standing on a street corner like Bruce Springsteen, smoking a cigarette, and I'd have it out with Him.In a Reuters article about the album, Slade stated that the lyrics for You Found Me were written in 2007, and that the song asks about the problem of evil, why bad things happen to good people, after some of their friends and family went through very tough times.Many others say that the song represents the reason we cope with things and how abandonment plays a role in everyday life.

Concert Band - Level 5 - Digital Download SKU: A0.927173 Composed by George Willson. 20th Century,Contemporary. Score and parts. 98 pages. George Willson #4601563. Published by George Willson (A0.927173). Creature began as a joke in high school between a friend of mine and me where we described the radical mood swings of our band directors as a creature coming forth from inside of them. Think about the alien from Alien 3 where it opened its mouth and its tongue was a little alien head with teeth of its own. I thought it would be fun to write a piece of music around this creature, so I wrote a short series of story beats and then some music around it. The full story is, unfortunately, lost to history, but the music survived the twenty-five years since its original composition, and in honor of my young self, I merely edited any typos and left it just as I wrote it when I was a seventeen-year-old high school senior. This was my first, solo-written, full band composition, and one can hear that I was a huge fan of Igor Stravinsky. This is not an easy piece to play. It has time changes aplenty, fast runs in the upper woodwinds, very exposed parts in nearly every section, large interval leaps, and spares hardly anyone's range. The eighth note remains constant across the 4 and 8 time signatures, and the breakdown of the complex time signatures is apparent in how the eighth notes are barred. As a conductor, it will be challenging as well, but I survived it on two occasions as both a senior in high school and in front of a military band, so it can be done. So enjoy the musical story of a creature who attacks people in its rage and hunger before it is chased and defeated by an angry mob ... but did it really die? George Willson has been an performer, composer, and conductor for thirty years in various mediums and ensembles.Mp3 provided is a midi extracted from the composition program.

Guitar - Digital Download SKU: A0.1497877 Composed by Ted Nugent. Arranged by Tracy Dean McCallum. 20th Century,Rock. Tablature. 8 pages. Tracy Dean McCallum #1074289. Published by Tracy Dean McCallum (A0.1497877). https://tracymccallum.com Never before have I turned on you You look too good to me Your beady eyes, they could cut me in two And I just can't let you be Well, it's a free for all, and I heard it said You can bet your life Stakes are high and so am I It's in the air tonight See you there with your Cheshire grin I got my eyes on you Shake your tail feather in my face and there's no tell in what I'll do Well looky here, you sweet young thing: the magic's in my hands When in doubt, I'll whip it out. I got me in a rock 'n roll band It's a free for all Here we go! Look out below! I'm on the prowl tonight When it's said and done, I'll have my fun. I can do anything I like Come one, come all, to a midnight ball. The invitation's there All alone and I'm driving home. God help me I do declare It's a free for all Never before have I turned on you Well you look too good to me Your beady eyes, they could cut me in two And I just can't let you be Well, it's a free for all, and I heard it said You can bet your life Stakes are high and so am I It's in the air tonight It's a free for all

Choral Choir,Choral,TTBB Chorus - Level 4 - Digital Download SKU: A0.1488150 By Bruno Mars, Anderson .paak And Silk Sonic. By (brandon Paak Anderson), Anderson .paak, Bruno Mars, Chris Brody Brown, and Dernst Emile. Arranged by Deke Sharon. 21st Century,A Cappella,Pop,R & B,Soul. 6 pages. Deke Sharon #1065032. Published by Deke Sharon (A0.1488150). It took every bit of music theory knowledge and experience I have... and it worked: I've reduced this incredible, lush song to 4 part TTBB  - including the solo lines which are woven between the voice parts. Vocal percussion is optional, swagger is not!