Full Orchestra - Level 4 - Digital Download SKU: A0.869351 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 81 pages. Thomas Oboe Lee #15869. Published by Thomas Oboe Lee (A0.869351). Instrumentation: 3232-4331-timp-2perc-strings. When I received the invitation from Jonathan Cohler to write a Concerto for Orchestra for the Brockton Symphony, I immediately thought of all the composers who wrote works inspired by Bartok’s seminal work of the same title: Roger Sessions, Elliott Carter, Michael Tippett, Witold Lutoslawski, Joan Tower and, most recently, Jennifer Higdon. My Concerto for Orchestra, opus 111, is in five movements. It will be heard without pause between movements. I. Largo … Misterioso! II. Allegro con moto … Evidence!!! III. Adagio … Epistrophy! IV. Andante … In Walked Bud! V. Presto … Rhythm-a-ning!!! My initial idea for the Concerto was contrast - contrast between the timbres and colors that the various sections in an orchestra provide. For example, the woodwinds would provide a sharp contrast against the brass; the percussion section against the strings, etc. I also was interested in writing a work where each movement would flow into the next without pause – thus providing another form of contrast, that of tempi and mood change. A third form of contrast would be the different styles and forms of music that I would come up with. And I had a lot of fun conjuring up the many possible scenarios and orchestral tableaux. I actually started with the second movement: the Allegro con moto. I wanted something that had a nice surging quality that the whole orchestra could jump into. When I finished that, I thought perhaps it would be too intense for the opening of the work. I thought, maybe I should begin with something slower, more brooding in nature before the explosive stuff. I noticed that Carter’s Concerto began with a slow Introduction. It had a title: Misterioso. Being an avid fan of Thelonious Monk, aka Thelonious Sphere Monk, Misterioso brought to mind a Monk composition of the same title. That epiphany gave me the idea of naming each of the five movements after a Monk tune. Monk’s Misterioso is a blues with an insistent theme of 8th note patterns of rising 6ths; which has nothing to do with my first movement. My Misterioso features a solo for the bass clarinet in the midst of a shimmering atmosphere that is punctuated by accents in the bass. They are both mysterious, but divergently opposed in mood and substance. Monk’s Evidence is a tune with jabs and punches, irregularly placed within the measure – not unlike what I did in the second movement. This movement is perhaps the most Monk-ish of all. Monk’s Epistrophy is a tune constructed with a four-note pattern that is angular and twisted. I wrote a solemn brass choir movement that is an epistle in nature, a sermon of sorts. The title of Monk’s In Walked Bud refers, of course, to the amazing pianist Bud Powell. I took the word walk and translated it into an andante. What resulted was a silly, but jolly movement featuring the woodwinds. I wanted to end the work with a fast and furious finale. Inspired by the word rhythm in Monk’s Rhythm-a-ning, I began the last movement with a solo for the percussion section – timpani, tom-toms, bass drum!!! The orchestra eventually joins in the mayhem, breaking into a scherzo-like frenzy. It ends with a big bang!!! Enjoy!!!Audio link: https://thomasoboelee.bandcamp.com/album/concerto-for-orchestra-opus-111-2005

Percussion Ensemble - Level 5 - Digital Download SKU: A0.1027778 Composed by MohammadHadi Ayanbod. 20th Century,Contemporary. Score and parts. 25 pages. Rimorarte Edition #5996957. Published by Rimorarte Edition (A0.1027778). In GRAVITY I explored different gravities as forces we not only feel them in every moments of our lives, but also thinking of living without or escaping from them seems impossible. Likewise, those gravities exist in the music, make us feel the music continuous, desirable, logical and an integrated language of art. The exploration of the path from chaos to unity, and from unity to multiplicity, is where the title came from. GRAVITY consists of two main sections. The first section, which shows the fully-grown and flourished musical ecosystem, and the second part; a flashback to just after big-bang, which tries to musicalize the creation of the gravity! In the first section, I’ve used the concept of horizontal and vertical minimalism. At the very beginning of the piece we have a structure that bring the idea of the vertical minimalism out. In every moment, each instrument plays the same note as others. However, the narrative line is divided into different octaves, so, the melody is not the same in spite of the fact that each instrument plays the same tone. This structure also reminds the paradoxical ladder or optical staircase illusion. The narration is built up until it reaches temporal climax. At the same time, this melody starts again from the beginning with some microscopic differences visible vividly to musicians. This semi reciprocating musical narration, could be observed as a musical example of the staircase illusion. After this part, but still in the first section of the music, I’ve used the horizontal (traditional) minimalism idioms to explore the bounding forces present in the music. Although, what interesting here is the creation of synthetic voices which is the result of different amounts of the nuances and different combinations of the sound. For keen ears, it seems like shades of neon lights, penetrate into one another in the scale of time and create a big picture of micro fluctuating objects. In the second section or just after big-bang, I’ve observed and recreate musically, the very moment of creation of the gravity just after the big-bang. Here, we don’t have melody, rhythm, structure, narration and other aspects of the music in the traditional way, although all of them are present in the music. very single sound or noise is meaningful and showing the assemblage process of the forces in the music to create a melody line. I’ve occupied idioms of contemporary Sonorism genre to create the atmosphere. This highly complex texture shows the virtuosity of interpreters and the capability of the instruments in avant-garde literature and extended techniques. The music is concluded by a fast-tempo finale, with the instruction of fortissimo possiblile (as loud as possible). The piece, in fact, will not be finished as a morendo, but, it opens a space for hypothetically living structure; constantly grows, flourishes, shines and decays.

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.987108 Composed by William Campbell. Arranged by William Campbell Music. Christian,Christmas,Concert,Contemporary,Sacred. Octavo. 12 pages. William Campbell Music #6115675. Published by William Campbell Music (A0.987108). A setting of the ancient Epiphany hymn Illuminans Altissime by St. Ambrose of Milan, From the collection, Five Ambrosian Hymns. Suitable for schools, churches, or for modern performance choirs, this music is based on the hymn written in the 4th Century by St. Ambrose of Milan. The original tune most likely sounded like what we would consider to be chant, but in a style that was specific to Ambrose, and came to be known as Milanese or Ambrosian in style. This is a meditative reflection of our own journey as we follow our own paths toward enlightenment. In recasting the hymn as a performance work I wanted to portray both the figurative and literal aspects of the imagery of light by using regular rhythmic patterns within accompaniment voices. In this way I hoped to illustrate the regular pattern of prayer that could lead individuals to Christ’s illumination. There are also important moments with harmonies that feature seconds, resulting in soft, almost clashing pitches that twinkle or shimmer like stars in the sky. .

Choral Choir (SSAA) - Level 3 - Digital Download SKU: A0.774736 By Electric Light Orchestra. By Jeff Lynne. Arranged by Sandra Milliken. Pop. Octavo. 17 pages. Sandra Milliken #4404586. Published by Sandra Milliken (A0.774736). All Over the World is a song written and made famous by the Electric Light Orchestra (ELO). It was released as a single in mid-1980 in both the UK and the USA. In that year the song made it to No. 13 on the US Billboard Hot 100 and to No. 11 on the UK singles chart.The song was written by Jeff Lynne specifically for the 1980 feature film Xanadu. It appeared in a sequence with the film’s stars Olivia Newton-John, Gene Kelly, and Michael Beck. Lynne wrote about half the songs for the film, with All Over the World also appearing on the soundtrack album Xanadu, and in the 2007 Broadway musical Xanadu.Lynne said of the song, I’m really pleased with the music. This song never lets up, and it’s very catchy and optimistic.This choral arrangement, with its driving piano accompaniment, has a duration of approximately 4 minutes.

String Quartet String Quartet - Level 5 - Digital Download SKU: A0.987857 Composed by Robert M. Greenberg. 20th Century. Score and parts. 121 pages. Robert M. Greenberg #115423. Published by Robert M. Greenberg (A0.987857). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 21 minutes Year of composition: 1988 Program Note: !. Games (fast) II. Intermezzo: Dreams of Gold (slow) III. Dances (very fast) Child's Play was completed in August, 1988. In no way does the title refer to the technical demands of the piece, which are considerable. Rather, it refers to the endlessly imaginative, energized, and constantly changing play that might be engaged in by four different, though like-minded children. Indeed, the inspiration for the quartet was my then two-year-old daughter Rachel, whose boundless energy and capacity for play I found (and still find) rather terrifying. Child's Play consists of three movements: Games (fast), Intermezzo: Sogni d'Oro (Dreams of Gold) (slow), and Dances (very fast). In Games, four energetic and well-rested players leap out of the starting blocks together and engage in sport of various kinds: running games, chasing games, teasing games, tag, echo games (Simon Says), races, and so forth, eventually returning to the unison from which they began. Intermezzo: Sogni d'Oro (Dreams of Gold) offers a quiet, episodic, dreamlike respite from the frenetic mood of Games. In Dances, the energized character of the first movement resumes, only faster. Dances is a perpetual motion movement in three parts, with a slower, more fragmented middle section sandwiched between a boisterous and frenzied dance of life. This movement ends much in the same way as the first movement began, bringing the circuit of the piece to a close. Child's Play was commissioned by, and is dedicated, with many thanks and great appreciation, to the Alexander String Quartet.

Trombone - Level 4 - Digital Download SKU: A0.1181059 By Jonas Hocherman. By Jonas Hocherman. Arranged by Jonas Hocherman. Chamber,Contemporary,Latin,Multicultural,Traditional,World. 28 pages. Jonas Hocherman #780890. Published by Jonas Hocherman (A0.1181059). The piece Entardecer in Nazaré da Mata for trombone octet, is a dreamlike journey about the richness of colors of Pernambuco music in carnival. Although much of the piece is based on the rhythm of maracatu de baque virado, this piece was composed from the memories on the day I went to Nazaré da Mata in Pernambuco in the northeast of Brazil to see the arrival of caboclos of the rural maracatu and later, upon arriving in Recife on the same night listen to several other rhythms such as Afoxé,  Coconut, Frevo, Caboclinho, Forró.   This piece has very melodic moments sounding like a beautiful trombone choir and has some very rhythmic moments. Maracatú is a traditional rhythm of Pernambuco and is characterized by being very rhythmic. Despite being traditionally in compass 4/4, this song was written in the 3/4 compass, being a kind of style stylization. The difficulty of this rhythm is that it needs to be very precise, can not leave the music behind, the breaks of semicolcheias has to be very in time.

Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1074352 Composed by Stanley M Hoffman. Classical,Contemporary. Octavo. 32 pages. Stanleymhoffman.com #678653. Published by stanleymhoffman.com (A0.1074352). PROGRAM NOTES As of the present writing, this choral tone poem had been gestating for over thirty years, and the concept and harmonies for it for over forty years. In the 1980s I began to work with the latter two in my brief orchestral piece Little Sea Nocturne. When reading the poetry of Edgar Allan Poe (1809–1849), I am most struck by how musical they are. When recited aloud they exhibit their own rhythmic sense. I was eager to incorporate those rhythms into my music. I had long been familiar with his poem The City In the Sea and began to sketch choral passages for the present choral tone poem in the 1990s. It took me until 2022 to complete it because I required many more years of experience at my craft to do so to lead into out of the choruses. In 2012 I completed a seven-minute unaccompanied version of the choruses with music unique to and unifying it simply called The City In the Sea. In composing The City In the Sea - Choral Tone Poem, my goal was to write a piece that, while steeped in tradition, sounds unlike anything in the literature that had come before it. The result is an original hybrid work that successfully and memorably combines salient aspects of the tonal, atonal, and modal musical languages into an organic whole. George Perle coined the term “twelve-tone tonality� to describe the music of Alban Berg and composers influenced by him such as Luigi Dallapiccola. The last title of which I am aware that accomplishes anything remotely related to what I am trying to accomplish musically in this choral tone poem is the piece Paradiso Choruses by Donald Martino (1974). However, I take twelve-tone tonality in entirely other directions in my work. That the duration of The City In the Sea - Choral Tone Poem came out to be thirteen minutes seems appropriate for piece about a sunken city. Rather than write program notes that narrate how the music unfolds I will simply shout out the most memorable aspects of what careful listeners will discern: a recurring heartbeat motif; shifting polychordal harmonies; echo technique; rhythmic diminutions and augmentations; an a cappella chorus featuring those harmonies with a surprisingly memorable recuring theme on top; sensuous flute duets; string section underpinnings by way of either sustained passages or wave-like gestures; tritone-related melodies, harmonies, and tone centers; several strategically placed grand pauses; tritone-related modal-sounding passages; melodic and chord clusters, especially the two climactic ones. INSTRUMENTATION 2 Flutes (2. doubles on Piccolo) 2 Oboes (2. doubles on English Horn) 2 Bb Clarinets 2 Bassoons 2 F Horns 2 C Trumpets 2 Trombones Tuba Timpani Percussion (Gong, Bass Drum, Chimes, Glockenspiel) Harp Strings DURATION 13:00 Stanley M. Hoffman (b. 1959) For biographical information visit: www.stanleymhoffman.com.

Piano Solo - Level 4 - Digital Download SKU: A0.869565 Composed by Thomas Oboe Lee. 20th Century,Contemporary. Score. 20 pages. Thomas Oboe Lee #3384143. Published by Thomas Oboe Lee (A0.869565). Program note: While browsing Amazon I stumbled upon a number of CD recordings of Morton Feldman’s 60-minute-plus work for solo piano, For Bunita Marcus. So I decided to give the music a listen. The experience of listening to the music was quite amazing. Confession: I have always been an admirer of Feldman’s minimalist music - its spare, lingering, and acoustically gorgeous sonorities.   I had just finished a Horn Trio for Irina Muresanu and was not yet ready to embark on a song cycle with text by the Italian playwright Luigi Pirandello. So I said to myself why not write a morton feldman-like solo piano piece, just for the hell of it? So, I did. I thought the idea of using chance in the style of John Cage would be appropriate to a Morton Feldman piece. In my case, I used a deck of cards.  I started composing on November 14 and finished seven days later on the 21st.   The work (unlike MF's unusual lengths) is only 20 minutes long.Bandcamp link: https://thomasoboelee.bandcamp.com/album/for-morton-feldman-2017Video link: https://youtu.be/vCGAIBz2SMY

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1021982 Composed by Brendon G.M.C. Holden. Country,Film/TV,Jazz,Pop,Rock. Score. 6 pages. Brendon Holden #6418715. Published by Brendon Holden (A0.1021982). Print your own Sheet Music to: Country Store: Sound of F. Country store: sound of F is written for Vocals and piano. Written in F makes this work a one of a kind good. Rock progression was used in the song. A splendidly good song!   I suppose the song says, although it does not necessarily, but could be a song that says: I am not poor because I got you! But in the song the Man doing the adoring-is most likely the reason why there is such goodness. Help us with your best lion roar, would mean to be adored, to be made more than judgmental. Vocals are: I C the birds, I C the trees, O how sweet they are to me,  I am living life feeling O so free, not a problem you can C in me. To my left I C a Store, I C I need some more. I C a Cat, can I tell you some more my friend, I walk into the store. Cat follows close behind walking on the floor. Candies and Cakes, I should get some more, get some for the Cat I adore. I C the birds, I C the trees, O how sweet they are to me, I am living life feeling O so free, not a problem you can C in me. As I am Walking out the door, I C the Cat shake his head you’re so poor. You C me Cat, I am the more, that you C I am not so poor. You’re talking like you want a war, let me ask you do you own the store? You C the shore, you C the store, you C me with all the more. If you see it is you I adore, shout and give me your best lion roar.   I C the birds, I C the trees, O how sweet they are to me. Tasty treats I adore, Tasty treats fill my core, Cakes and Candy galore/ all the more, Give me Give me, I want more. I C the birds, I C the trees, O how sweet they are to me. Tasty treats on the shore Tasty treats in the store Me and my Cat want some more, Help us with your best lion roar.     Art and Music by Brendon G.M.C. Holden

Level 2 - Digital Download SKU: A0.1372693 By Alicia Domínguez Arcos Sonay. By Joan Manuel Serrat. Arranged by Alicia Domínguez Arcos. Film/TV,Multicultural,Pop,Praise & Worship,Singer/Songwriter,World. 30 pages. Alicia Dominguez #957004. Published by Alicia Dominguez (A0.1372693). In these 112 measures for the twinning of Istanbul-Algeciras I have wanted to incorporate concepts from both parties, with the respect that the composition of Don Joan Manuel Serrat deserves in which in 1970 he sang “Mare Nostrum� (Nostrum mare more correctly in Latin classic, being one of the popular anthems of Spain and therefore a cultural heritage. Therefore it can be used instrumentally or if required, there is a number in the score of which, although the guitar has a melody and one of the choral voices, with two guitars, or make two choral voices or join with your own melody, use both bowed string instruments and plucked strings, etc.Likewise, there are two voices, of which a single voice can use the phrasings of both one voice and the other, giving it its own personality.The tempo will be whatever the interpretation itself wants, much slower, without accelerating so much between the beginning and the moment of the song itself. I have incorporated some instruments into the arrangement as examples:Buzukibouzouki, like the sazturco and the Lebanese Buzuq, which belong to the same family of Buzuki instruments.And as percussion only percussion The Turkish Darbuka is a percussion musical instrument The Turkish Darbuka is a percussion musical instrument from Turkey. The Turkish Darbuka have a high range of low and high resonant tones that sound between the two registers; serious (Dum) and acute (Tek). The edge or lip allows for finger breaking techniques that are not possible in the Egyptian Darbuka.And the Tombak, also called Dombak Ozarb, is a chalice-shaped drum, traditionally built with a hollowed-out biker or walnut trunk covered with skin at one end.With the beginning and among the work itself I wanted to give place to the Bashraf (Turkish Pesrev and Persian Pishraw, which means Overture) and the Sama'i (Turkish Sam Semai) Instrumental genre that is used in the Turkish court and in Sufi music . They were introduced into the Arab world before the 19th century.And also give place in his forms to the Ottoman composer Ismail Hakkibei (1866-1927). Unite Serrat with Hakkibey with this Istanbul-Algeciras work.Although the Bashraf is always made up of four points, Khanat (Plural Dekhana) or Hanne in Turkish, which are always followed by a chorus (Taslim / Teslim), its structure being Khana 1+ Taslim, Khana 2, Khana 3+ Taslim, Khana 4 + Taslim.The fragments must be incorporated since the main base is the Mediterranean pop theme. For this reason, its original rhythm is the Defâhte (In Arabic, Faakhito Fahitah Turki. Being a 20/4 time signature subdivided into 5 sub-groups of 4/4 where the complete cycle coincides with the phrases of the theme. Without forgetting that in music Arabic with the oriental rhythm Lsaada Duyukde 8/8 making a cycle for each measure of 4/4, that is, cycles per phrase, if those written for Western reading in 4/4 with double durations and simplicity. Unit of time: quarter note , coincides in two phrases of 5 measures per staff for a better understanding of the form of the piece, also within a written Arabic version of the theme the unit of time is eighth note 8/8 in G, but it had to be incorporated into Mediterráneo and it is always It is more feasible to think of the human voice as being more limited than instrumentation such as flute, plucked leather instruments, and bowed string instruments.Instrumentation:FluteGuitar 1 (1st voice melody)Guitar 2 (2nd voice melody)Bass (accompaniment and chords)BuzukiSazDarbukaTombakVoice 1st2nd voiceSMATB Voices1st violin2nd violinViolaCellosDouble basses.

Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1229673 By Ed Sheeran. By Aaron Dessner and Ed Sheeran. Arranged by Barry McCormick. Pop,Singer/Songwriter. Score. 4 pages. B. McCormick #825438. Published by B. McCormick (A0.1229673). Elevate your performance with Ed Sheeran's Boat sheet music from his highly anticipated album Subtract. The song Boat is a poignant ballad that speaks to the heart. As Independent.co.uk writes, it's a powerful meditation on depression and hope. With this sheet music, you can bring this emotional power to your performance and really connect with your audience. This sheet music also has everything you need for a successful performance. Whether you're playing with a small group or solo, you'll have all the tools you need to create a beautiful and moving rendition of Boat. And with its digital format, you can practice anytime, anywhere, on any device. So don't miss out on this amazing opportunity to take your performance to the next level. Get Ed Sheeran's Boat sheet music today! Notes about the music This digital sheet music includes the melody on a separate stave, a piano accompaniment, and a short intro, making it perfect for piano instrumentalists, singers, and small groups. To make this piece more accessible I have arranged it in the key of G Major which is a third below the recorded version which is in B Major. This makes the higher notes more attainable to sing for a more people and makes it easier to play for most. Who likes playing with 5 sharps?! Structure In this arrangement there is a slight variation from the structure from the Subtract Recording. As mentioned above a short intro is included which is the melody from the end of the chorus. After this the repeats and D.S markings will follow the form as heard on the recording. On the final chorus rather than playing the bass as written and played for the previous occurrences just playing simple sustained root notes of the chord to bring it all back and give the melody some space for the last time through, this would emulate the feeling in the recording. Melody As with all my arrangements, to try an minimise the number of pages needed, the small note heads in brackets indicate where the melody is different when repeated and these notes should be played/sung on the appropriate verse. The melismatic phrase on boat at the end of bar 37 is a simplification of what is sung on the recording and the performer is free to amend as it suits them. Piano The piano follows a simple chordal harmony and rhythm, the most complicated coming on the final page but this is simply the chord broken up in a way to give more momentum to this section. If you would like a version where the melody is in the right hand of the piano I also have an arrangement of this as a piano reduction which combines the melody with the right hand of the piano part here with some modifications for playability. Alternatives. I have different versions of this piece which may suit different performers/instrumentalists more. All my versions are: Voice Piano and Guitar - Melody on its own stave with guitar chords above it and a piano accompaniment underneath; Voice Piano and Guitar - As above but the melody is combined with the right hand of the piano part; Guitar Lead Sheet - Melody with guitar chords; Ukulele Lead Sheet - Melody with Ukulele chords.

Alto Saxophone,Piano - Level 2 - Digital Download SKU: A0.548976 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Holiday,Standards,Wedding. Score and part. 11 pages. Jmsgu3 #3444569. Published by jmsgu3 (A0.548976). Was mir behagt, ist nur die muntre Jagd (The lively hunt is all my heart's desire), BWV 208 is the earliest secular cantata by Bach composed in 1713 for the birthday of the Duke of Weissenfels. It is also called the Hunting Cantata, and/or the Birthday Cantata. The most famous piece from this collection is the soprano aria Sheep may safely graze. Duration: 5:50, Score - 6 pg. Solo part - 2 pg. Piano part - 3 pg. 41 ms. Melodic range: M10 Sheep May Safely Graze Sheep may safely graze (Schafe können sicher weiden) is an aria from the Cantata BWV 208. The title of the Cantata, Was mir behagt, ist nur die muntre Jagd (nicknamed the Hunting Cantata) translates as The lively hunt is all my heart's desire. Programming Similar to Bach’s Jesu, Joy of Man's Desiring, or I Stand at the Threshold, it is an all-time favorite and frequently requested at weddings. Originally, Bach composed this aria for a royal birthday celebration, that of the Duke of Saxe-Weissenfels. Lyrics Sheep may safely graze and pasture In a watchful Shepherd’s sight. Those who rule with wisdom guiding Bring to hearts a peace abiding Bless a land with joy made bright.   Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Indeed, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. People are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.  Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival               Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.

Baritone Saxophone,Piano - Level 2 - Digital Download SKU: A0.548979 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Holiday,Standards,Wedding. Score and part. 11 pages. Jmsgu3 #3444583. Published by jmsgu3 (A0.548979). Was mir behagt, ist nur die muntre Jagd (The lively hunt is all my heart's desire), BWV 208 is the earliest secular cantata by Bach composed in 1713 for the birthday of the Duke of Weissenfels. It is also called the Hunting Cantata, and/or the Birthday Cantata. The most famous piece from this collection is the soprano aria Sheep may safely graze. Duration: 5:50, Score - 6 pg. Solo part - 2 pg. Piano part - 3 pg. 41 ms. Melodic range: M10 Level: Early intermediate and up. A popular choice for weddings, Christmas, Easter, birthdays, and recitals. Sheep May Safely Graze Sheep may safely graze (Schafe können sicher weiden) is an aria from the Cantata BWV 208. The title of the Cantata, Was mir behagt, ist nur die muntre Jagd (nicknamed the Hunting Cantata) translates as The lively hunt is all my heart's desire. Programming Similar to Bach’s Jesu, Joy of Man's Desiring, or I Stand at the Threshold, it is an all-time favorite and frequently requested at weddings. Originally, Bach composed this aria for a royal birthday celebration, that of the Duke of Saxe-Weissenfels. Lyrics Sheep may safely graze and pasture In a watchful Shepherd’s sight. Those who rule with wisdom guiding Bring to hearts a peace abiding Bless a land with joy made bright.   Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Indeed, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. People are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.  Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival               Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.

Guitar - Level 2 - Digital Download SKU: A0.1314698 Composed by Richard Hirsch. Instructional. Educational Exercises. 8 pages. Richard Hirsch #903442. Published by Richard Hirsch (A0.1314698). Many amateur guitarists and beginning students of guitar are ‘stuck in the first position’. The rest of the fretboard is ‘terra incognita’. They don’t know where the notes are and they don’t know how to get to them and use them in playing melodies. To help remedy this situation, I offer a collection of scales and exercises I have developed over the years that have helped me master the fretboard of the guitar and that I have used to warm up my left and right hands before practicing or playing proper pieces. Guitarists afraid to move up the fretboard miss out on all the tonal nuances that the guitar has to offer. They also often have undeveloped left hand technique with a little finger that flies around helplessly and uselessly. These scales and exercises will, if played regularly, put the little finger to good use and guide the left hand to orient to the fretboard properly, staying close to the fretboard with fingers that move as little and as efficiently as possible. They are also relaxing and fun to play around with. I read somewhere a while back that medical science had found that pianists were less likely to develop brain diseases. The scientists attributed this to the many hours pianists spend playing scales, as this is like a gentle brain massage. So scales are not only good warm up exercises for the fingers but also good warm-ups for the brain.The scale exercises written here in the keys of G and C should be played in different keys in higher positions on the fretboard. Students can try to see just how far up the neck they can go to reach the highest notes. After a while, what seemed challenging and strange will start to feel comfortable and familiar. Don’t hesitate to develop new variants of the scales when you grow tired of playing them as I propose here. Have fun playing and playing with the scales!The exercises often start in one position and move toward other higher or lower positions on the fretboard. When moving from one position to another, follow the suggested fingerings to utilise what is called a lead finger to move the hand to the next position. This will make the movement smooth and not interrupt the flow of the scale. In the end all movement should look and feel seamless and effortless.I have chosen scales in major keys I think are particularly good to play on the guitar. To practice a scale in a minor key, start the exercise in the related major key from the fundamental of the minor key, for example, to play an E minor scale start the G major exercise on an E and play from there. This is one way of creating new variants of these scales. Another way to vary the exercises is to play the scales in different time signatures or rhythms.I believe these exercises are particularly helpful for amateur guitarists who play in ensembles of different kinds, duos, trios, quartets, where the guitarist often only has one melodic line to play. Such melodies often sound much better played in higher positions where the guitar can be made to sing, rather than in the first position where the same tones, especially on open strings, often sound rather dull. From my own experience, I find that when I play a melody in a higher position using all the fingers of the left hand, the melody not only sounds better, the fingers remember the melody better. 

Choral Choir,Choral,SATB Chorus divisi - Digital Download SKU: A0.1418462 Composed by Cassy Gress. 21st Century. 10 pages. Cassy Gress #1000029. Published by Cassy Gress (A0.1418462). On April 8, 2024, I had the privilege to be able to view a solar eclipse in totality. I'd previously seen one at around 99% totality, but 100% is a completely different experience. I periodically glanced at the sun in my protective glasses, watching the disc shrink down to nothing, not expecting much other than the absence of a sun. But I looked away for a moment, and my son suddenly cried, It's there!I turned and gasped: the sky was a flat twilight blue, and a crisp brilliant ring glowed in the sky, safe to view with the naked eye. The world was still, strangely silent, alien and new. We all tried to grab as many pictures as we could. After a few minutes, the moon continued its arc across the sky, and the sun's glare abruptly reappeared, already blinding even as a sliver. I can still see that ring in my mind's eye, fiercely burning, as if someone had literally cut a circle out of the sky and exposed another universe behind it.In this piece I tried to capture the growing ominous wonder of an eclipse approaching totality. While the 2024 eclipse was not visible in Russia, the Russian word for sun, �олнце (solntse), has a lily-like fragility to it that the English equivalent does not. Various parts of the choir repeat the word throughout the piece, and the repeated ts and s sounds should create a percussive susurrance. Stagger breathing should be used throughout.Also repeated is the Russian word for moon, луна (luna). As the eclipse approaches that crystalline moment of totality, the moon becomes more and more prominent and the text more chantlike. The refrain, first sung by a solo bass at bar 7, and sung in variation by the other parts thereafter, is repeated in its original form once by the sopranos near the top of their range. This represents the sun in final desperate ecstasy, before it too collapses into the inevitability and madness of occultation.After an indefinite sudden pause, the shock of the moment, the choir reverently sings suscipe deprecationem nostram. Glorificamus te. As the moon frees the sun from its cold grip, the menace of the previous section threatens to return, but just as quickly fades, revealing once again �олнце в небе (the sun in the sky).