Choral Choir (SSA) - Level 4 - Digital Download

SKU: A0.769465

By Ellie Goulding. By Ellie Goulding and John Fortis. Arranged by Wilfred Reneman. Pop. Octavo. 8 pages. Wilfred Reneman #377096. Published by Wilfred Reneman (A0.769465).

A little opera, very elaborated, ends in double-choir. Intreaging song!
After purchase a separate pianopart is available.
Mail to wilfredreneman@hetnet.nl.

Piano Accompaniment, Trumpet - Advanced - Digital Download Composed by John Frith. 21st Century, Contemporary Classical. Score, Solo Part. 36 pages. Published by Cherry Classics Music

Concert Band - Level 4 - Digital Download

SKU: A0.1152172

Composed by John Philip Sousa. Arranged by Wesley Besancon. 20th Century,March. Score and Parts. 62 pages. Wesley Besancon #752386. Published by Wesley Besancon (A0.1152172).

Throughout Sousa’s career as a conductor, he often altered the performance of his marches without marking or changing the printed music. These alterations were designed for concert performances and included varying dynamics and omitting certain instruments on repeated strains to expand the range of the musical textures, as well as adding unscripted percussion accents for dramatic emphasis at key points in the music. Although Sousa never documented his performance techniques himself, several players who worked extensively with Sousa provided directions for his frequently performed marches, most notably cornetist Frank Simon. Sousa continued to conduct many of his earlier marches later in his career with these unique alterations, but he rarely returned to several of the marches composed between 1873 and 1880. Although no written confirmation exists for how Sousa might have performed these earliest compositions, select elements of his typical performance practices can also be applied to these marches. “Our Flirtation� is the earliest march for which Simon documented Sousa’s common adjustments in performance. The Complete Marches of John Philip Sousa appears in chronological order and is based on some of the earliest known sources for each composition. These newly edited full scores correct many mistakes and inconsistencies found in the parts of early publications; however, all remaining markings and the original scoring are preserved. Additionally, the alterations traditionally employed by the United States Marine Band in performance are incorporated throughout; either those specifically documented by Sousa’s musicians or changes modeled on the customary practices of “The March King.� Performance practices that deviate from the original printed indications are described below and appear in [brackets] in the score. In many instances these indications appear side-by-side with the original markings. An open diamond marked with an accent in the cymbal part indicates that the cymbal player should let that accent ring for an additional beat before rejoining the bass drum part. Second strain (m. 21-38): The dynamic should drop to piano first time through with piccolo, E-flat clarinet, cornets/trumpets, and trombones tacet first time. Additionally, all clarinets should play down one octave as indicated by the cued notes. All instruments rejoin fortissimo and at the original octave in the first ending. A percussion accent may be added in m. 29 the second time. The printed percussion figure in the first ending continues the previous pattern, yet muddies the pick-ups to the second strain and may be omitted for just that one bar as indicated after the downbeat. Trio (m. 39-54): Piccolo and cornets/trumpets are tacet once more as well as cymbals, but trombones have an interesting part in the texture and may continue to play softly here. All instruments rejoin for the fortissimo pick up notes in m. 54. Interlude/Break-up strain (m. 55-70): A percussion accent may be added on beat two in m. 62 and 70, both times, to match the accented chords in the rest of the band. Final strain (m. 71-end): The first time through this strain is piano once more and piccolo, cornets/trumpets, trombones, and cymbals are tacet again. First and second B-flat clarinets should also play one octave lower as indicated by the cued notes. All instruments rejoin in the first ending for the repeat of the break-up strain and play fortissimo to the end.

Piano Solo - Level 4 - Digital Download

SKU: A0.1355945

Composed by John Burkett. Arranged by John Burkett. Classical,Patriotic,Praise & Worship. Score. 7 pages. John Burkett #940668. Published by John Burkett (A0.1355945).

My Prelude on the hymn tune Materna (O Beautiful for Spacious Skies) is intended for church pianists looking for interesting arrangements of hymns familiar to their congregations.  Three statements of the tune convey three entirely different moods.  The first is in G-flat major and creates an ethereal mood with its accompaniment of glissandi scales in the upper range of the keyboard.  The second is a straightforward duo with a flowing scalar accompaniment in the key of F major.  A bridge section gradually increases the rhythmic pace, while simultaneouly increasing the dynamic level to fortissimo.  This sets the tone for the final grandiose statement in B-flat major with the melody played in octaves in the bass below a rapid scalar accompaniment in the right hand.  The expected bombastic conclusion is subverted by a rising whole-tone scale in G-flat marked subito piano.  The final phrase returns to the key and mood of the beginning with its upwardly rising glissandi.  I have provided a full-length recording to aid the prospective buyer in the decision-making process.  I encourage you to search the Sheet Music Plus or the Sheet Music Direct website for other hymn arrangements of mine, some for organ and others for piano.

Organ - Level 4 - Digital Download

SKU: A0.1346808

Composed by John Burkett. Arranged by John Burkett. Classical,Contemporary,Sacred. Score. 8 pages. John Burkett #931590. Published by John Burkett (A0.1346808).

The Fantasia on CWM Rhondda is structured as a long crescendo, building incrementally from a piano dynamic to forte fortissimo.  Along the way several key changes contribute to the sense of growth, beginning in G major and ending in E-flat major.  Imitative processes increase the perception of forward motion, culminating in a grandiose harmonization of the second half of the hymn tune, accompanied by a rhythmic ostinato played by the feet.  I have provided a full-length reording to aid the prospective buyer in the decision-making process.  I encourage you to search the Sheet Music Plus or the Sheet Music Direct website for other hymn arrangements of mine, some for organ and others for piano.

Recorder Duet Recorder - Level 3 - Digital Download

SKU: A0.835853

Composed by John Philip Sousa. Arranged by Paul Burnell. Romantic Period. Score. 9 pages. Paul Burnell #5743035. Published by Paul Burnell (A0.835853).

The Liberty Bell – March, John Philip Sousa (1854 - 1932), arranged by Paul Burnell for duet - Tenor Recorder, Bass Recorder.

The download comprises both score and parts.

Duration 3:30

The key of the original piece is retained.

* In bar 4 the optional note may be played on a bell (perhaps by a member of the audience), or other effect as appropriate.

The ossia notes in the Tenor Recorder are to assist with any difficulties playing the higher notes, and the ossia notes in the Bass Recorder are to assist with any absence of the low F sharp and any difficulties playing fortissimo.

Programme note: 

John Philip Sousa was an American composer and conductor. One of his best-known marches, ‘The Liberty Bell’, was written in 1893. The march was used as the signature tune for the British TV comedy program ‘Monty Python’s Flying Circus’ (1969-74).

Bass Trombone,Instrumental Solo - Level 5 - Digital Download

SKU: A0.810720

Composed by John Frith. Contemporary. Individual part. 13 pages. Gordon Cherry #1942817. Published by Gordon Cherry (A0.810720).

Composer John Frith has written a new solo virtuosic work for Bass Trombone with Piano accompaniment of about 3 minutes in length. Read below to see what his thoughts are about his composition for Jonathan Warburton.  I have written a number of pieces (over many years) for Jonathan Warburton who also commissioned ‘Sons of Thunder’ in 2015. Jon’s gift for musical ‘acrobatics’ gave me the idea of creating a short, high-energy work that would give vent to his exceptional range and flexibility. The central section is muted and relatively calm but it is not long before the music builds and the opening material returns. A solo cadenza creates a welcome calm interlude before the storm gathers once again as the piece builds to a momentous fortissimo before grinding to a thunderous halt! ‘Sons of Thunder’ is the nickname given by Jesus to the apostles James and John, possibly reflecting their lively characters……I’m guessing that theirs were not too unlike Jonathan’s ebullient personality!.

SATB choir, horn in F or cello, and organ - Moderately Easy - Digital Download

SKU: MQ.80-712-E

Composed by Julian Darius Revie. Ordination/Installation. 8 pages. MorningStar Music Publishers - Digital Sheet Music #80-712-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.80-712-E).

English. John 17:17-18.

John 17:17–18, from the High Priestly Prayer of Jesus, is the communion antiphon for Episcopal ordinations and a fitting text for other ordinations, installations, or commissioning. Composer Julian Revie has a skill for sensitivity to the text, and begins this prayer with hushed homophonic writing, gently supported by organ and French horn. The piece builds slowly but persistently, breaking into polyphonic, imitative writing, and reaches a dramatic fortissimo before tapering to the end.

Piano Solo - Level 3 - Digital Download

SKU: A0.835959

Composed by John Darwall. Arranged by Colleen Adent. Christian,Concert,Easter,Sacred. Score. 7 pages. Colleen Adent #6269309. Published by Colleen Adent (A0.835959).

The joy of Easter comes to life in this spirited arrangement of Rejoice, the Lord Is King. Syncopated rhythms drive the opening, and a fanfare-like right hand introduces the main melody. The music then segues into a sweeter, gentler variation of the hymn tune, accompanied by arpeggios and simple counterpoint. A modulation from C major to F major leads the piece through satisfying reharmonizations, and a transition imitating the sound of a brass ensemble pushes toward a fortissimo, breathtaking climax in G major. The arrangement requires playing some blocked octaves and blocked four-notes chords that span an octave, as well as facility in moving across the full range of the keyboard. A dazzling ending makes great use of these extreme high and low ends of the instrument, ushering in the brilliant light of Easter.

Visit Colleen @ colleenadent.com!

SATB choir (choir divisi) unaccompanied - Medium - Digital Download

SKU: MQ.1.3468-E

Composed by Joseph Gregorio. National Collegiate Choral Organization Choral Series. Secular, 21st century. 21 pages. Duration 6 minutes, 30 seconds. Galaxy Music Corporation - Digital #1.3468-E. Published by Galaxy Music Corporation - Digital (MQ.1.3468-E).

UPC: 600313134685.

Love, thricewise was the winner of the 2009 Pacific Chorale Young Composers Competition. It was premiered in February 2010 under the baton of Robert Istad by the John Alexander Singers. The first movement, Liquor and lacquer, sets Witter Bynner's Opus 6 and depicts infatuation through flighty changes of meter and sudden shifts of mode. The second, entitled An amethyst remembrance and based on a poem by Emily Dickinson, is built around a false cadence on the words 'T will keep. It is regretful, slowly building to an anguished climax and wistfully fading away. Finally, Kinsfolk takes Sidney Lanier's A Song of Love as its text. It is both a lighthearted reflection on the paradoxical and complementary relationship between love and pain, and a pining for love. The first two stanzas of Kinsfolk pit the tenors and basses, who deliver the first stanza’s melody, against the sopranos and altos, who answer in the second stanza with the same melody in a key a tritone away from that of the first. The third stanza is a fugato on the same melody, culminating in a fervid fortissimo. Duration approx. 6:30.

Handbells handbell choir (2-3 octaves) - Level 2 - Digital Download

SKU: H1.2177DP

Arranged by Cynthia Dobrinski. Lent, Sacred. Handbell score. 8 pages. Hope Publishing - Digital #2177DP. Published by Hope Publishing - Digital (H1.2177DP).

Ephesians 1:6 - Galatians 6:14 - Isaiah 55:1 - John 19:25 - Luke 23:47 - Luke 23:48 - Luke 23:49 - Mark 13:37 - Matthew 10:8 - Matthew 27:54 - Revelation 22:16 - 2 Corinthians 5:20 - 2 Corinthians 5:21 - 2 Corinthians 6:1 - 2 Corinth.

Medley of hymn tunes In this simple 2-3 octave setting Cynthia Dobrinski unites two hymns of the cross, Near the Cross and Alas! And Did My Savior Bleed, utilizing reharmonization, melody in treble and bass clef and use of martellato accompaniment. In this simple 2-3 octave setting Cynthia Dobrinski unites two hymns of the cross, Near the Cross and Alas! And Did My Savior Bleed, utilizing reharmonization, melody in treble and bass clef and use of martellato accompaniment. A transition builds to a final triumphant verse of Near the Cross, which utilizes shakes and finishes with a fortissimo coda. Though the bell changes are minimal, this arrangement is harmonically rich and sounds more difficult than it is.

Easy Piano - Level 1 - Digital Download

SKU: A0.915357

Composed by John Stafford Smith. Arranged by Jason Brown. Holiday,Patriotic,Standards,Traditional. Score. 2 pages. Music Multiverse Publishing #6856821. Published by Music Multiverse Publishing (A0.915357).

All rise for the playing of the national anthem!  This traditional patriotic tune is a staple for any music student to learn.  This arrangement has been designed with level 2 piano students in mind.  It will challenge students to perform ritardandi and other tempo changes, fermatas, a wide variety of dynamics, and the triumphant dotted eighth/sixteenth note rhythm.  Utilizing pedal, fortissimos, and plenty of accompaniment notes, this arrangement will sound full, while still being accessible to late beginner students.