Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.

Instrumental Duet Alto Recorder,Instrumental Duet - Level 2 - Digital Download SKU: A0.966354 Composed by Greg Shapley. 20th Century,Contemporary,Standards. Score and parts. 4 pages. Greg Shapley #1984573. Published by Greg Shapley (A0.966354). Phrygian Swell is an easy to play round for recorders in three parts (it may also be played by many other instruments). It is written for near-beginners, but its designed so that the sum is greater that its parts. Included in this score are two versions. The original changes time signature every bar (eventually getting up to 23/4). It plays with a number of concepts, all designed as educational tools. Firstly, it is written entirely in the mode known as Phrygian. This mode has a distinctive mystical sound primarily due to its first interval – which is a minor second. Secondly, it has been written to get players thinking about time without being too challenging (so despite the change of time signatures, most notes are just crotchets). Another educational facet of these changing time signatures is that they ascend by primary numbers. Thirdly, being a round it gets young players used to playing different parts with other players, while initially being able to rehearse altogether. Fourthly, this piece is comprised entirely of scales, but it doesn't just sound like an exercise (I hope). The second version, barred in 4/4 is exactly the same as the first, except for the rebarring. This is done in case following the continually changing time signatures is too difficult (although it does defeat the purpose of the piece to a certain extent). This version of this piece was written for three alto/treble (transposed from the original for descant/soprano or tenor), but due to its simplicity and range, could be played by many other instruments.

Piano Solo - Level 5 - Digital Download SKU: A0.873046 Composed by Sally Whitwell. Contemporary. Score. 11 pages. Sally Whitwell #6119391. Published by Sally Whitwell (A0.873046). A Week in November… and what a week it was! It was the week of the US Presidential Election 2020. As I write these words, the absurdist tantrums of the Trump-Pence campaign versus the reasoned compassion of team Biden-Harris continues even well after the results have been called in the Democrats’ favour. There will not be the usual respectful concession speech and transition of power. I worry every day about how these next few months will be so very difficult, maybe even dangerous, for my American friends. Those convoys of flag waving Trumpists gleefully, openly, encouraged by their ‘leader’, attempting to block the democratic process was horrifying to witness. Was America on the brink of civil war? It still doesn’t seem far fetched to think that as I sit in my studio on the other side of the world, feeling helpless. The only thing I felt that I could do for my friends over there was to offer them a way to feel safe and loved in the moment, a bit of musical mindfulness.  It was in this spirit that I wrote the second movement of this work, subtitled A Pocket Full of Calm. My excellent pianist friends Erica Sipes (USA) and Sandra Mogensen (Canada) adopted my little tune, recorded it on their social media to share said moment in the moment as it were. I hope it helped. I mean, if I can bring to even just one person some sense of calm solidarity, I’m happy with that. The fifth movement in the set, Victorious, resolute, but gracious, was a stream-of-consciousness creative response to the Biden Harris victory and the way they handled it so eloquently, so humbly, how they gave the world a sense of optimism once more. For a long while, I’d felt that I probably wouldn’t be welcome in America. As a mixed race, queer woman I was the antithesis of everything they valued. But now, people like me over there can feel human again. The relief! As for the other days of that week in November, they are part of a continuing series of daily composition exercises I started back in October in an effort to end a lengthy period of pandemic-induced creative block. Using a combination of exercises from Music Composition Toolbox (Barbeler/Blom/Hindson) and Brian Eno’s Oblique Strategies I’ve been able to find my creativity again. Starting a composition ‘habit’ is the best thing I’ve done for my writing all year and is how I mean to continue for a long time. Sally Whitwell12 November 2020 

Soprano voice,Vocal Solo - Level 3 - Digital Download SKU: A0.962409 Composed by Salvador Rojo Gamón. Arranged by Salvador Rojo Gamón. 20th Century,Concert,Contemporary. 24 pages. Salvador Rojo-Gamon #6050685. Published by Salvador Rojo-Gamon (A0.962409). It is an arrangement of my work Time for Soprano soloist and Piano. The work is complete, unfortunately, you only can enjoy the audio in the full version. I hope to fix this ASAP.TimeThis work has been done during coronavirus. It is my way to complain about the comportment of the human being. It is clear work, without ostentations, trying to be easy, simple, and the most importantly honest. It is composed for Choir SATB & Strings. It has form movements being the last as large as the other three. The lyrics are simple without pretension and with a homely message.Lyrics:People, it’s time. Straight out from the ample worlds.The Society falls deep  Deep as does my Planet.  People, it’s time. Beyond, beyond, beyond the walls.Beyond, beyond, beyond of worlds.Life is defined.Beyond the walls, life.Beyond the worlds, life.People, it’s time.What more could you ask for?You complain you complain about lack of empathy.

Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.

Choral Choir,Choral (SA) - Level 2 - Digital Download SKU: A0.1286347 By Mud. By Michael Donald Chapman and Nicky Chinn. Arranged by Karen Ivana. 20th Century,Christmas,Pop. 7 pages. Karen Ivana #877420. Published by Karen Ivana (A0.1286347). Wonderfully cheesy Christmas song, it is a wistful and light-hearted look at heartbreak in the holiday season. It was the UK Christmas number 1 for four weeks.Arranged for SA choir and piano, it is a fairly easy sing, with plenty of repetition. Key changes are well signposted so should not present too many problems.

Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.1008448 By The Young Rascals. By Edward Brigati, Jr. and Felix Cavaliere. Arranged by Kirk Schmidt. Contemporary. Score and Parts. 51 pages. Kirk Schmidt #4800672. Published by Kirk Schmidt (A0.1008448). I wrote this chart as a senior at Rutgers in the late 1960's when Donald Byrd, yes the great jazz trumpet, was brought in to form a jazz concert big band. He encouraged us to try our hand at arranging and this song was a fairly recent hit on the radio and I felt it had never been played like a jazz waltz, so it was time to give it a try.

Violin Solo - Level 3 - Digital Download SKU: A0.526125 By Lil Nas X. By Atticus Ross, Billy Ray Cyrus, Jocelyn Donald, Kiowa Roukema, Montero Lamar Hill, and Trent Reznor. Arranged by Sarah Cellobat Chaffee. Contemporary,Country,Hip-Hop,Pop,R & B. 2 pages. Sarah Cellobat Chaffee #5286933. Published by Sarah Cellobat Chaffee (A0.526125). Quite possibly the biggest hit song of 2019, Old Town Road put Lil Nas X at the top of the Billboard charts for a record-breaking 19 consecutive weeks. Controversy over whether this hit belonged on the country charts only served to boost its popularity, and it has since garnered a number of awards including three Grammy nominations. This arrangement for solo violin was originally commissioned for a wedding, but it will also be great for receptions, cocktail parties, solo & ensemble contests, and many other events. No accompaniment part -- it stands alone, or can be played with a backing track for solo gigs. Rated intermediate, this chart will be playable for students and easily sightreadable for professionals -- there are a handful of tied rhythms throughout and the notes reach 3rd position. Sarah “Cellobat� Chaffee is an in-demand acoustic & electric cellist and string arranger. Currently, she performs with legendary rock band Aerosmith in their “Deuces Are Wild� residency show, and she is the principal cellist for the Raiders House Band, playing for a crowd of 60,000 at all of the team's home games. She also plays with many other groups including Premiere Wedding Music, Bella Electric Strings, the Femmes Of Rock, and David Perrico’s Pop Strings Orchestra. Sarah has performed and recorded with numerous other artists including Disturbed, Mötley Crüe, Celine Dion, Halsey, Michael Bublé, Sarah Brightman, and Lady A. She is the exclusive arranger for a number of award-winning wedding and event companies all across the United States, including Premiere Wedding Music, Las Vegas Music Oasis, and Impulse Strings, and she has created custom arrangements for many other ensembles all over the world. You can find her at:http://www.cellobat.comhttp://www.instagram.com/cellobathttps://www.youtube.com/@Cellobat

Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.1474736 By Steely Dan. By Donald Fagen and Walter Becker. Arranged by Gary Wolk. 20th Century,Pop,Rock. 50 pages. Gary Wolk Music #1052304. Published by Gary Wolk Music (A0.1474736). An instrumental version of the Steely Dan song, arranged for Jazz Ensemble. It is different from the original in that the guitar solos have been taken out. Also, it is demanding for 1st Trumpets as it does go up to a high D above C in spots.

Concert Band - Level 2 - Digital Download SKU: A0.978107 Composed by Francisca Gonzaga (Chiquinha Gonzaga 1847-1935). Arranged by Idalmo Santos. 20th Century,Latin,World. Score and parts. 23 pages. Idalmo Santos #6679863. Published by Idalmo Santos (A0.978107). The famous Corta-jaca, the name with which the tango Gaúcho became popular, is one of Chiquinha Gonzaga's most recorded and best-known songs, along with Ó abre alas, Lua branca, and Atraente. It was born on the stages of musical theaters, where it was danced in the final scene of the burlesque operetta of national costumes Zizinha Maxixe, imitated from French by an anonymous author, performed at the Teatro Éden Lavradio, in August 1895. Actor Machado Careca (José Machado Pinheiro e Costa), the anonymous author of the play, ended up putting verses to the music of Corta-jaca, helping to popularize it, especially after his version was recorded on disc by the duo Os Geraldos. Throughout history, Corta-jaca frequented other stages and repertoires: café-cantante, chope-berrante, rodas de choro... But it was at the Palácio do Catete, in 1914, that it achieved its glory. Performed on the guitar by first lady Nair de Teffé, it caused political scandal and ended up nicknaming the administration of Hermes da Fonseca. The reaction can be measured by the impassioned speech that Senator Rui Barbosa made from the rostrum. When asked what was the corta-jaca he had heard so much about, he concluded: The lowest, the most vulgar, the rudest of all wild dances, the twin sister of batuque, cateretê and samba. But at presidential receptions the corta-jaca is performed with all the honors of Wagner's music, and one does not want the conscience of this country to revolt, our faces to blush and the youth to laugh! Never before in the history of Brazil had eminently popular music been performed at the seat of government, in front of the diplomatic corps and the country's elite. Corta-jaca has become a classic of the great repertoire of Brazilian instrumental music, meriting recordings by, among others, Abel Ferreira, Altamiro Carrilho, Antonio Adolfo, Artur Moreira Lima, Clara Sverner, Conjunto Regional do Donga, Eudóxia de Barros, Guio de Morais, Itamar Assieré, Leandro Braga, Marcus Viana, Maria Teresa Madeira, Marcelo Verzoni, Paulo Moura, Radamés Gnatalli, Rosária Gatti, Talitha Peres, Turíbio Santos, countless bands, and some sung versions. It was written by the maestro also for singing and piano and small orchestra: oboe, viola, timpani, horns (bass), bassoon.

Flute Solo - Level 3 - Digital Download SKU: A0.1083310 By Idalmo Santos. By Francisca Gonzaga (Chiquinha Gonzaga 1847-1935). Arranged by Idalmo Santos. Latin,Multicultural,World. Individual part. 2 pages. Idalmo Santos #687512. Published by Idalmo Santos (A0.1083310). The famous Corta-jaca, the name with which the tango Gaúcho became popular, is one of Chiquinha Gonzaga's most recorded and best-known songs, along with Ó abre alas, Lua branca, and Atraente. It was born on the stages of musical theaters, where it was danced in the final scene of the burlesque operetta of national costumes Zizinha Maxixe, imitated from French by an anonymous author, performed at the Teatro Éden Lavradio, in August 1895. Actor Machado Careca (José Machado Pinheiro e Costa), the anonymous author of the play, ended up putting verses to the music of Corta-jaca, helping to popularize it, especially after his version was recorded on disc by the duo Os Geraldos. Throughout history, Corta-jaca frequented other stages and repertoires: café-cantante, chope-berrante, rodas de choro... But it was at the Palácio do Catete, in 1914, that it achieved its glory. Performed on the guitar by first lady Nair de Teffé, it caused political scandal and ended up nicknaming the administration of Hermes da Fonseca. The reaction can be measured by the impassioned speech that Senator Rui Barbosa made from the rostrum. When asked what was the corta-jaca he had heard so much about, he concluded: The lowest, the most vulgar, the rudest of all wild dances, the twin sister of batuque, cateretê and samba. But at presidential receptions the corta-jaca is performed with all the honors of Wagner's music, and one does not want the conscience of this country to revolt, our faces to blush and the youth to laugh! Never before in the history of Brazil had eminently popular music been performed at the seat of government, in front of the diplomatic corps and the country's elite. Corta-jaca has become a classic of the great repertoire of Brazilian instrumental music, meriting recordings by, among others, Abel Ferreira, Altamiro Carrilho, Antonio Adolfo, Artur Moreira Lima, Clara Sverner, Conjunto Regional do Donga, Eudóxia de Barros, Guio de Morais, Itamar Assieré, Leandro Braga, Marcus Viana, Maria Teresa Madeira, Marcelo Verzoni, Paulo Moura, Radamés Gnatalli, Rosária Gatti, Talitha Peres, Turíbio Santos, countless bands, and some sung versions. It was written by the maestro also for singing and piano and small orchestra: oboe, viola, timpani, horns (bass), bassoon.

Piano Solo - Level 3 - Digital Download SKU: A0.1139900 Composed by William McKechnie. Arranged by Lindsay Garvin & Anthony King. Christmas,Contemporary,Holiday,Instructional,Traditional. Score. 2 pages. William McKechnie #740168. Published by William McKechnie (A0.1139900). Piano manuscript for Intermediate. Fall of Snow is a jolly upbeat, 194bpm Christmas swing with an excellent hook. It tells the story of Santa setting off on his journey to deliver presents while elves wave him goodbye and Frosty the snowman and how he is made. The story-telling also describes Santa's clothing, the reindeers and the elves. In all, what makes Fall of Snow unique is its chorus which once heard is difficult to forget...it sticks somewhere in the back of the mind and you can't help humming it all day long Lyrics Fall of Snow It's Christmas time it's party time it comes round every year The time when we start singing about Rudolph the reindeer His nose is red and shiny and it does glow so bright He guides old Santa's sleigh across the sky Christmas eve night. Hey hey hey hey hey hey hey hey Ho ho ho ho ho ho ho ho Christmas isn't Christmas without a fall of snow Hey hey hey hey hey hey hey hey Ho ho ho ho ho ho ho ho Christmas isn't Christmas without a fall of snow Frosty he is our snowman a friendly jolly chap He has a carrot for his nose and sometimes wears a cap He has a scarf around his neck and two black eyes to see Branches are used for his arms taken from a tree Hey hey hey hey hey hey hey hey Ho ho ho ho ho ho ho ho Christmas isn't Christmas without a fall of snow Hey hey hey hey hey hey hey hey Ho ho ho ho ho ho ho ho Christmas isn't Christmas without a fall of snow Santa has a big red suit with white bits here and there He has his little helpers those young elves are everywhere A back belt round his tummy and a very long white beard Standing at the Christmas tree then whoosh he's disappeared Hey hey hey hey hey hey hey hey Ho ho ho ho ho ho ho ho Christmas isn't Christmas without a fall of snow Hey hey hey hey hey hey hey hey Ho ho ho ho ho ho ho ho Christmas isn't Christmas without a fall of snow Santa Claus needs his reindeers to help him on his way Dasher, Dancer, Prancer, Vixen, Comet, Cupid, hey Donner, Blitzen, Rudolph all his reindeers now you know But Christmas isn't Christmas without a fall of Snow Hey hey hey hey hey hey hey hey Ho ho ho ho ho ho ho ho Christmas isn't Christmas without a fall of snow Hey hey hey hey hey hey hey hey Ho ho ho ho ho ho ho ho Christmas isn't Christmas without a fall of snow ho ho ho ho ho.

Guitar,Piano - Level 3 - Digital Download SKU: A0.1145635 By William McKechnie. By William McKechnie. Arranged by Lindsay Garvin & Anthony King. Christmas,Contemporary,Holiday,Singer/Songwriter,Traditional. Score and part. 2 pages. William McKechnie #745878. Published by William McKechnie (A0.1145635). Piano manuscript for Intermediate. Fall of Snow is a jolly upbeat, 194bpm Christmas swing with an excellent hook. It tells the story of Santa setting off on his journey to deliver presents while elves wave him goodbye and Frosty the snowman and how he is made. The story-telling also describes Santa's clothing, the reindeers and the elves. In all, what makes Fall of Snow unique is its chorus which once heard is difficult to forget...it sticks somewhere in the back of the mind and you can't help humming it all day long Lyrics Fall of Snow It's Christmas time it's party time it comes round every year The time when we start singing about Rudolph the reindeer His nose is red and shiny and it does glow so bright He guides old Santa's sleigh across the sky Christmas eve night. Hey hey hey hey hey hey hey hey Ho ho ho ho ho ho ho ho Christmas isn't Christmas without a fall of snow Hey hey hey hey hey hey hey hey Ho ho ho ho ho ho ho ho Christmas isn't Christmas without a fall of snow Frosty he is our snowman a friendly jolly chap He has a carrot for his nose and sometimes wears a cap He has a scarf around his neck and two black eyes to see Branches are used for his arms taken from a tree Hey hey hey hey hey hey hey hey Ho ho ho ho ho ho ho ho Christmas isn't Christmas without a fall of snow Hey hey hey hey hey hey hey hey Ho ho ho ho ho ho ho ho Christmas isn't Christmas without a fall of snow Santa has a big red suit with white bits here and there He has his little helpers those young elves are everywhere A back belt round his tummy and a very long white beard Standing at the Christmas tree then whoosh he's disappeared Hey hey hey hey hey hey hey hey Ho ho ho ho ho ho ho ho Christmas isn't Christmas without a fall of snow Hey hey hey hey hey hey hey hey Ho ho ho ho ho ho ho ho Christmas isn't Christmas without a fall of snow Santa Claus needs his reindeers to help him on his way Dasher, Dancer, Prancer, Vixen, Comet, Cupid, hey Donner, Blitzen, Rudolph all his reindeers now you know But Christmas isn't Christmas without a fall of Snow Hey hey hey hey hey hey hey hey Ho ho ho ho ho ho ho ho Christmas isn't Christmas without a fall of snow Hey hey hey hey hey hey hey hey Ho ho ho ho ho ho ho ho Christmas isn't Christmas without a fall of snow ho ho ho ho ho.

Piano Solo - Level 3 - Digital Download SKU: A0.1192328 Composed by Kenny Ascher and Paul Williams. Arranged by Arranged by Elena Fortin. Children,Contemporary,Film/TV,Standards. Score. 5 pages. Elena Fortin #791761. Published by Elena Fortin (A0.1192328). The Rainbow Connection from The Muppet MovieIntermediate Piano Solo arrangement by Elena Fortin. Original words and music by Kenneth L. Ascher and Paul Williams.Most people hear the intro of this piece and immediately think of Kermit the Frog, strumming his banjo and singing this beautiful little melody. It is one of the very first sheets of music that I went out and purchased at our local music store. I was so excited to learn it! Fast forward many years later (ahem!) and I am so happy to see it entertaining a whole new generation of people. On YouTube, Kermit uploaded a special performance of it in April 2020!I performed it as a duet with a student at a recital and it was a big hit (we even came up with our own choreography to go along with the piece!) This melody is one of those timeless and iconic pieces that will forever live in my heart. I was excited to see that I would be able to share an arrangement I made!My version starts out in the key of A major and offers a simple, more pianistic left hand accompaniment. Smooth, flowing arpeggios accompany most of the piece. The first verse is left to be fairly simple and lets the melody shine. The second verse has more harmony in the right hand and some fills that build on the melody. The key change has more movement and signals the last verse done in a very full, orchestra-like sound. The finish brings us back to a more simple arrangement--back to it's humble beginnings!I hope I made Kermit proud!Please check out my other arrangements available on SheetMusicPlus and Sheet Music Direct.WIth love,Elena

Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.962408 Composed by Salvador Rojo Gamón. 20th Century,Contemporary. Octavo. 152 pages. Salvador Rojo-Gamon #5896423. Published by Salvador Rojo-Gamon (A0.962408). TimeThis work has been done during coronavirus. It is my way to complain about the comportment of the human being. It is a clear work, without ostentations, trying to be easy, simple and the most importantly honest. It is composed for Choir SATB & Chamber OrchestraIt has form movements being the last as large as the other three. The lyrics are simple without pretension and with a homely message.Lyrics:People, it’s time. Straight out from the ample worlds. People, it’s time. Beyond, beyond, beyond the walls. Beyond, beyond, beyond of worlds. Life is defined. Beyond the walls, life. Beyond the worlds, life. People, it’s time. What more could you ask for? You complain you complain about lack of empathy.