Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download

SKU: A0.1404895

Composed by Giovanni Pierluigi de Palestrina, John Redford, Josquin des Prez, Maddalena Casulana, Thomas Tallis, and Vittoria Aleotti. Arranged by Josh Trentadue. Contest,Festival,Instructional,Renaissance. 68 pages. T.U.X. People's Music #987926. Published by T.U.X. People's Music (A0.1404895).

Carefully selected, arranged, and engraved for any standard quartet, this selection of Renaissance-era music provides popular and new favorites together in a beautifully lyrical collection of fanfares, hymns, and chorales!

Table of Contents:
Vive le roy, des Prez (M)
In Epiphania Domini, Palestrina (M)
In Communi Plurimorum Martyrum, Palestrina (M)
In Festo Sanctarum Mulicrum, Palestrina (M)
Il vostro dipartir, Casulana (M)
Baciai per aver vita, Aleotti (MA)
Agnus Dei, Redford (MA)
Glorificamus, Redford (MA)
O quam glorifica, Redford (MA)
Variations on “Why fumeth in sight�, Tallis (A).

Percussion Quartet - Level 3 - Digital Download

SKU: A0.1405486

Composed by Camille Saint-Saens, Hector Berlioz, Josh Trentadue, Mikhi Gelbert, and Samuel Goldfarb. Arranged by Josh Trentadue. Christmas,Contemporary,Contest,Festival,Halloween,Holiday. 21 pages. T.U.X. People's Music #988541. Published by T.U.X. People's Music (A0.1405486).

Bring to life the joy and spirit of the holiday season with this wonderful collection of carols, classics, and original works suitable for celebrating Halloween, Christmas, and Hanukkah!

Table of Contents:
Fossils, Saint-Saëns (ME)
Pumpkin Spice & Everything Nice, Trentadue (M)
Hymn for Tricks and Treats, Trentadue (M)
The Witches’ Sabbath, Berlioz (MA)
I Heard the Bells on Christmas Day, Traditional (ME)
Jolly Old St. Nicholas, Up on the Housetop, Traditional (M)
Silent Night, Traditional (ME)
I Have a Little Dreidel, Goldfarb & Gelbert (M)
Rock of Ages, Traditional (M)

Our Flexible Quartet series brings together new and old works in a joyous, fun experience suitably accessible for any combination of wind and percussion instruments! Whether reimagining some of the most traditionally popular works today, or introducing brand-new works specially written for this series, your students will love the ingenuity and spirit of these carefully compiled selections.

Woodwind Ensemble,Woodwind Quartet Flute,Oboe - Level 3 - Digital Download

SKU: A0.1405465

Composed by Camille Saint-Saens, Hector Berlioz, Josh Trentadue, Mikhi Gelbert, and Samuel Goldfarb. Arranged by Josh Trentadue. Christmas,Contest,Festival,Halloween,Holiday,Traditional. 21 pages. T.U.X. People's Music #988521. Published by T.U.X. People's Music (A0.1405465).

Bring to life the joy and spirit of the holiday season with this wonderful collection of carols, classics, and original works suitable for celebrating Halloween, Christmas, and Hanukkah!

Table of Contents:
Fossils, Saint-Saëns (ME)
Pumpkin Spice & Everything Nice, Trentadue (M)
Hymn for Tricks and Treats, Trentadue (M)
The Witches’ Sabbath, Berlioz (MA)
I Heard the Bells on Christmas Day, Traditional (ME)
Jolly Old St. Nicholas, Up on the Housetop, Traditional (M)
Silent Night, Traditional (ME)
I Have a Little Dreidel, Goldfarb & Gelbert (M)
Rock of Ages, Traditional (M)

Our Flexible Quartet series brings together new and old works in a joyous, fun experience suitably accessible for any combination of wind and percussion instruments! Whether reimagining some of the most traditionally popular works today, or introducing brand-new works specially written for this series, your students will love the ingenuity and spirit of these carefully compiled selections.

Piano Solo - Level 5 - Digital Download

SKU: A0.999484

Composed by Alex Lewis. 20th Century,Concert,Contemporary,Standards. Score. 8 pages. Alex Lewis #6302621. Published by Alex Lewis (A0.999484).

Free Flow is about the free flow of information. Freedom of speech is one of the most important pillars of a liberal society. And it seems as though that's being eroded too easily these days.
I am reminded, ironically, of the quote by Henry Ford after showcasing the now-famous Model-T, You can have this vehicle in any color you want, as long as it's black. It seems as though the appropriate quote that the media has adopted is, You may have any opinion you want, as long as it's our opinion. I don't know why black was the only option for the Model-T, but perhaps there was a good excuse for it. There is no good reason to silence anybody's voice. What I want in this country is diversity. After all, doesn't everybody agree that diversity creates a better life than monotony? But I'm not just talking about Asians, Blacks, Whites, and others living in the same country. I'm not just talking about people of different ancestries working in the same economy. The pinnacle of diversity is when people of different philosophies and ideologies work together, collaborate together, and fight together. Censorship, then, is the greatest enemy of diversity. You may think censorship is needed. You may think censorship is justified. But censorship is used as a weapon against 'dangerous' people. I will clarify. Censorship is not being used against criminals, but against individuals with controversial ideas. Free Flow of information is the only safeguard against tyranny.

Choral Choir (TTBB) - Level 2 - Digital Download

SKU: A0.1270160

By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160).

For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.

Wanna hear something? You know that Indians never ate clams. They didn't have linguini!
And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.

Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!

Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.

I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.

You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.

So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?

So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.

Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.

He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.

That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.]

Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.

You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...

I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.

Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.

Bass Guitar,Choir,Cymbals,Double Bass,Drum Set,Flute,Guitar Accompaniment,Horn,Oboe,String Synthesizer - Level 3 - Digital Download

SKU: A0.1454670

By Ali Smart. By Bryan M. Powell. Arranged by Bryan M. Powell. 21st Century,Contemporary,Pop,Praise & Worship,Religious. Full Performance. Duration 227. Composer Bryan M. Powell's Music #1033746. Published by Composer Bryan M. Powell's Music (A0.1454670).

We live in a broken world because we are broken people. But thanks to God's amazing grace and resurrected power, we don't have to live that way. He can and will mend the broken, and then the broken into this world of broken people to shine like a beacon in a dark lonely place..

Small Ensemble Drums,Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download

SKU: A0.802642

By Wings. By Linda McCartney and Paul McCartney. Arranged by Peet du Toit. Film/TV. Score and parts. 36 pages. Peet du Toit #6115473. Published by Peet du Toit (A0.802642).

Silly Love Songs is a song written by Paul McCartney and Linda McCartney and performed by Wings. The song appears on the 1976 album Wings at the Speed of Sound. It was also released as a single in 1976, backed with Cook of the House. The song, written in response to John Lennon and music critics accusing McCartney of predominantly writing silly love songs and sentimental slush, also features disco overtones.

The song was McCartney's 27th number one as a songwriter; the all-time record for the most number one hits achieved by a songwriter.With this song, McCartney became the first person to have a year-end No. 1 song as a member of two distinct acts. McCartney previously hit No. 1 in the year-end Billboard chart as a member of the Beatles with I Want to Hold Your Hand in 1964 and Hey Jude in 1968.

Silly Love Songs has since appeared on multiple McCartney greatest hits compilations, including Wings Greatest and All the Best!. The song has also appeared on the Hits section of the compilation album Wingspan: Hits and History. Despite its popularity, McCartney has not performed the song live since the dissolution of Wings.

Silly Love Songs was written as a rebuttal to music critics (as well as John Lennon) who had criticized McCartney for writing lightweight love songs. Author Tim Riley suggests that in the song, McCartney is inviting his audience to have a laugh on him, as Elvis Presley had sometimes done. But over the years people have said, Aw, he sings love songs, he writes love songs, he's so soppy at times. I thought, Well, I know what they mean, but, people have been doing love songs forever. I like 'em, other people like 'em, and there's a lot of people I love -- I'm lucky enough to have that in my life. So the idea was that you may call them silly, but what's wrong with that? The song was, in a way, to answer people who just accuse me of being soppy. The nice payoff now is that a lot of the people I meet who are at the age where they've just got a couple of kids and have grown up a bit, settling down, they'll say to me, I thought you were really soppy for years, but I get it now! I see what you were doing! - Paul McCartney, Billboard 

Enjoy my brassy version of Silly Love Songs

C Instrument - Level 1 - Digital Download

SKU: A0.1310120

By Marcelo Borba. By Public Domain. Arranged by Marcelo Borba. Folk,Historic,Jazz,Multicultural,Patriotic,World. Lead Sheet / Fake Book. 2 pages. Marcelo Borba #899258. Published by Marcelo Borba (A0.1310120).

Leadsheet style with chords

Vieni Sul Mar é uma tradicional canção napolitana que captura a essência do romantismo italiano. 
Essa melodia evoca imagens das águas cintilantes do Mar Mediterrâneo e convida o ouvinte a se aventurar em um mundo de amor e paixão.
A letra da música descreve um convite apaixonado para um amante se juntar ao mar, navegando juntos em um barco, simbolizando a jornada compartilhada da vida. A melodia suave e melancólica, combinada com a lírica sedutora, faz de Vieni Sul Mar uma canção atemporal que continua a encantar os ouvintes e a celebrar a beleza da música napolitana.

Esta canção icônica foi gravada por muitos artistas ao longo dos anos, e sua popularidade transcende fronteiras, tornando-a uma representante da rica herança musical italiana. Vieni Sul Mar é uma amostra cativante do romantismo da região de Nápoles e uma lembrança das maravilhas do amor e da natureza, com seu apelo duradouro que ainda ressoa com as emoções de quem a ouve.

A mesma canção foi adaptada para música popular Brasileira com o nome de Oh, Minas Gerais.
É uma verdadeira ode ao estado de Minas Gerais, sua cultura, paisagens e povo. Oh, Minas Gerais se tornou um hino não oficial para os mineiros e uma representação musical do amor à sua terra natal, sendo regravada por diversos artistas ao longo dos anos.

Vieni Sul Mar is a traditional Neapolitan song that captures the essence of Italian romanticism. This melody evokes images of the shimmering waters of the Mediterranean Sea and invites the listener to venture into a world of love and passion. The lyrics of the song describe a passionate invitation for a lover to join the sea, sailing together on a boat, symbolizing the shared journey of life. The gentle and melancholic melody, combined with the seductive lyrics, makes Vieni Sul Mar a timeless song that continues to enchant listeners and celebrate the beauty of Neapolitan music.

This iconic song has been recorded by many artists over the years, and its popularity transcends borders, making it a representative of the rich Italian musical heritage. Vieni Sul Mar is a captivating sample of the romanticism of the Naples region and a reminder of the wonders of love and nature, with its enduring appeal that still resonates with the emotions of those who listen.

The same song was adapted into Brazilian popular music with the name Oh, Minas Gerais. It is a true ode to the state of Minas Gerais, its culture, landscapes, and people. Oh, Minas Gerais has become an unofficial anthem for the people of Minas Gerais and a musical representation of their love for their homeland, being re-recorded by various artists over the years.