B-Flat Clarinet Solo - Level 1 - Digital Download SKU: A0.1099132 By Freedom Cries. By George Bennard and John Ryan. Arranged by Josiel Oliveira. Christian,Praise & Worship,Religious. Individual part. 1 pages. M das Melodias #703002. Published by M das Melodias (A0.1099132). Play this beautiful song with your instrument. Sheet music for Clarinet in Bb, based on Elvis Presley's chant The Old Rugged Cross. On a hill far away stood an old rugged cross The emblem of suffering and shame And I love that old cross where the dearest and best For a world of lost sinners was slain So I'll cherish the old rugged cross (rugged cross) Till my trophies at last I lay down I will cling to the old rugged cross And exchange it some day for a crown To the old rugged cross I will ever be true It's shame and reproach gladly bear Then he'll call me some day to my home far away Where his glory forever I'll share And I'll cherish the old rugged cross (rugged cross) Till my trophies at last I lay down And I will cling to the old rugged cross And exchange it some day for a crown I will cling to the old rugged cross And exchange it some day for a crown.

Tenor Saxophone Solo - Level 1 - Digital Download SKU: A0.1099136 By Freedom Cries. By George Bennard and John Ryan. Arranged by Josiel Oliveira. Christian,Praise & Worship,Religious. Individual part. 1 pages. M das Melodias #703007. Published by M das Melodias (A0.1099136). Play this beautiful song with your instrument. Sheet music for Tenor Saxophone, based on Elvis Presley's chant The Old Rugged Cross. On a hill far away stood an old rugged cross The emblem of suffering and shame And I love that old cross where the dearest and best For a world of lost sinners was slain So I'll cherish the old rugged cross (rugged cross) Till my trophies at last I lay down I will cling to the old rugged cross And exchange it some day for a crown To the old rugged cross I will ever be true It's shame and reproach gladly bear Then he'll call me some day to my home far away Where his glory forever I'll share And I'll cherish the old rugged cross (rugged cross) Till my trophies at last I lay down And I will cling to the old rugged cross And exchange it some day for a crown I will cling to the old rugged cross And exchange it some day for a crown.

Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.926665 Composed by Michael A. Morizio. A Cappella,Christian,Sacred. Octavo. 13 pages. M.A. Morizio #3588435. Published by M.A. Morizio (A0.926665). In the first chapter of Paul’s second letter to Timothy, verses 1-10, we observe the intimate relationship that exists, between a spiritual father and his son… I remember you constantly in my prayers night and day. As I remember your tears, I long to see you, that I may be filled with joy. In Chapter two we also witness Paul’s commissioning Timothy to entrust to faithful men all that he was taught by the Apostle, that they then may be able to teach others in the same way also. While the elder Paul is now in prison and bound in chains, he is nonetheless empowered by the Holy Spirit to encourage and exhort Timothy to share in suffering as a good soldier of Christ, for the sake of the Gospel. Though Paul is bound in chains, he declares to Timothy the word of God is not bound! Endurance for Paul serves only one purpose, the salvation that is in Christ Jesus with eternal glory.In verse 11, Paul supports his statements by inserting another known 1st century Hymn to Christ, which brings us to our fifth anthem, For If We Died with Him. The text-or lyrics-of this hymn are even bracketed (or indented) in the NKJV Bible, suggesting the hymnic setting.   The proposition of the text is quite clear; if we died with Christ, then we shall also live eternally with Christ. If we endure in the faith, then we shall also reign eternally with Christ. However, there is an insertion of 'Law' here, with a dire warning that the opposite is also true: If we deny Christ, resist, and refuse His beckoning and free invitation to salvation, then He will also deny us. Not everyone who says to me ‘Lord, Lord,’ will enter the kingdom of heaven… I will declare to them, ‘I never knew you; depart from me, you workers of lawlessness.’ (Matthew 7:31-23). Thus, the stage has been set for the fifth anthem. The piece is composed for SATB a cappella. The key is F Major. The opening phrase, This is a trustworthy saying, is in ¾ time, where a series of triplets are sung three times each (the Trinitarian opening motif). The meter then shifts to 2/4 with a lovely, distinctive unison melody for the opening phrase, For if we died with Him, we shall also live with Him. Soon after, when the lyrics shift to the words, If we deny Him, He will also deny us, the song drops into the relative minor key (F minor). The melody in this passage is haunting, and sends a clear warning signal to the listener to pay heed to what is being sung. When the text then transitions from if we are faithless, He remains faithful, however, the key shifts back to F Major in a new (dance-like) rhythm for the final verse, He remains faithful, for He cannot deny Himself. A coda is inserted in the final phrase where the triplet pattern is recapitulated (This is a trustworthy saying) and the sopranos ascend to a high F singing the lyrics, we shall live, for He remains faithful! to triumphantly end the piece.  

Piano Solo - Level 3 - Digital Download SKU: A0.1247227 By New Christy Minstrels. By Richard M. Sherman and Robert B. Sherman. Arranged by Timothy Stapay. Broadway,Film/TV,Musical/Show,Pop,Singer/Songwriter,Standards. Score. 2 pages. Timothy Stapay #841772. Published by Timothy Stapay (A0.1247227). This is an arrangement of Chim Chim Cher-ee from the Walt Disney movie, Mary Poppins.Chim Chim Cher-ee is a song from Mary Poppins, the 1964 musical motion picture, and also is featured in the 2004 Mary Poppins musical.The song won the 1964 Academy Award for Best Original Song. In 2005, Julie Andrews included this song as part of Julie Andrews Selects Her Favorite Disney Songs.  The song was written by Robert B. Sherman & Richard M. Sherman (the Sherman Brothers) who also won an Oscar and a Grammy Award for Mary Poppins' song score.The song was inspired by one of the drawings of a chimney sweep created by Mary Poppins' screenwriter, Don DaGradi. When asked about the drawing by the Sherman Brothers, DaGradi explained the ancient British folklore attributed to sweeps and how shaking hands with one or touching their sleeve could bring a person good luck.  In their 1961 treatment, the Sherman Brothers had already amalgamated many of the P.L. Travers characters in the creation of Bert. His theme music became Chim Chim Cher-ee. Lyrics:Chim chimineyChim chimineyChim chim cher-eeA sweep is as luckyAs lucky can beChim chimineyChim chimineyChim chim cher-ooGood luck will rub off whenI shakes 'ands with youOr blow me a kissAnd that's lucky tooNow as the ladder of life'As been strungYou may think a sweep'sOn the bottommost rungThough I spends me timeIn the ashes and smokeIn this 'ole wide worldThere's no 'appier blokeChim chimineyChim chimineyChim chim cher-eeA sweep is as luckyAs lucky can beChim chimineyChim chimineyChim chim cher-ooGood luck will rub off whenI shakes 'ands with youChim chimineyChim chimineyChim chim cher-eeA sweep is as luckyAs lucky can beChim chimineyChim chimineyChim chim cher-ooGood luck will rub off whenI shakes 'ands with youI choose me bristles with prideYes, I doA broom for the shaftAnd a brush for the flumeUp where the smoke isAll billered and curled'Tween pavement and starsIs the chimney sweep worldWhen the's 'ardly no dayNor 'ardly no nightThere's things 'alf in shadowAnd 'alf way in lightOn the roof tops of LondonCoo, what a sightChim chimineyChim chimineyChim chim cher-eeWhen you're with a sweepYou're in glad companyNo where is thereA more 'appier crewThan them wot singsChim chim cher-eeChim cher-ooChim chim cher-eeChim chim cher-ee chim cher-oo.

Guitar and voice - Intermediate - Digital Download SKU: ZY.DO-1538 Composed by David Leisner. Score. 23 pages. Les Editions Doberman-Yppan (digital) #DO 1538. Published by Les Editions Doberman-Yppan (digital) (ZY.DO-1538). When guitarist John Olson and soprano Gioia De Cari commissioned me to write a piece for them, I envi- sioned writing something theatrical that might especially suit Gioia, who is both a singer and an actress. Eventually, I thought of Mark Twain. The great American writer and humorist of substance wrote a short, little-known book called The Diary of Adam and Eve, which is, of course, about the first days of human life on this earth, in Twain’s witty, but touching take on the Bible story. Adam and Eve each write diary entries. I chose several passages from Eve’s diary that convey the sense of constant wonder that she felt because absolutely everything in her world was new.Setting prose, rather than poetry, is a challenge for a composer because it has neither the innate rhythm nor the lyricism of poetry. On some intuitive level, this challenge led me to a process that allowed the music to evolve mostly from the guitar part. Whereas normally the vocal melody might emerge first, motivated by the text and with the accompaniment then added for support, here the guitar part was the prime mover. An example of this is the last song, which is a passacaglia played by the guitar, providing the ground over which the vocal line can soar. Eve’s Diary was composed in 2015.Lorsque le guitariste John Olson et la soprano Gioia De Cari m'ont commandé une pièce pour eux, j'ai imaginé écrire quelque chose de théâtral qui pourrait particulièrement convenir à Gioia, qui est à la fois chanteuse et actrice. Finalement, j'ai pensé à Mark Twain. Le grand écrivain et humoriste américain a écrit un petit livre peu connu intitulé Le Journal d'Adam et Ève, qui raconte les premiers jours de la vie humaine sur terre selon l'interprétation spirituelle et espiègle de Twain de l'histoire biblique. Adam et Ève tiennent chacun un journal. J'ai choisi plusieurs passages du journal d'Ève qui expriment ce sentiment d'émerveillement constant qu'elle ressentait, car absolument tout dans son monde était nouveau.Mettre en musique de la prose, plutôt que de la poésie, est un défi pour un compositeur car elle n'a ni le rythme inné ni le lyrisme de la poésie. Intuitivement, ce défi m'a conduit à un processus qui a permis à la musique d'évoluer principalement à partir de la partie de guitare. Alors que normalement la mélodie vocale pourrait émerger en premier, motivée par le texte et avec l'accompagnement ajouté ensuite pour le soutien, ici la partie de guitare était le moteur principal. Un exemple en est la dernière chanson, qui est une passacaille jouée à la guitare, fournissant le fond sur lequel la ligne vocale peut s'élever. Le Journal d'Ève a été composé en 2015.

Choral Choir,Choral,SATB Chorus divisi - Level 5 - Digital Download SKU: A0.1487909 Composed by Stanley M Hoffman. Arranged by Stanley M Hoffman. 20th Century,Classical,Jewish. 12 pages. Stanleymhoffman.com #1064840. Published by stanleymhoffman.com (A0.1487909). Composer’s Notes  Anim Zemiros was composed in 1985 while I was a doctoral student of Martin Boykan at Brandeis University. The initial fugal theme was inspired by the melody from the third movement of Beethoven's Quartet in A Minor, Op. 132, also known as Heiliger Dankgesang. My theme resembles Beethoven's melody in two ways: it aurally approximates the rhythms of his theme and it also takes the contour of Beethoven's melody and inverts it, also in an approximated way. This is where the similarities to Beethoven's theme end, forAnim Zemiros is most certainly not composed in the Lydian mode! Rather, it is composed in a chromatically saturated musical language. Although Anim Zemiros may be used for the Jewish Musaf Sabbath Service, it was conceived as a concert piece. In the synagogue, this hymn is sung responsively by the cantor and congregation. The responsive nature of this hymn is what inspired the use of contrapuntal passages alternating with homophonic ones. Anim Zemiros begins with a statement of the initial fugal theme in the basses followed by a response at the interval of a fifth in the altos during which the basses present the counter theme. After a brief episode, the same thing happens in the tenor and soprano voices while the basses and altos present new contrapuntal melodies. A brief, contrasting, calm homophonic chorale passage ensues (a textural foreshadowing of both the loud climax and the hushed closing of the piece). This is followed by an extended development section (like ones from sonata-allegro movements) in which ideas from both the contrapuntal and homophonic sections are fragmented and stratified. Shifting time signatures provide added momentum to this music that leads to the homophonic climax that follows. Next comes an “anti-fugue” in which the initial fugal theme is presented backwards, as is the fugal form itself, moving from four voices, to three and finally to two. However, rather than moving to one voice as at the opening of the piece (which would have been a very predictable thing to do), the piece ends with a reminiscence of the calm homophonic chorale. Ashkenazic pronunciation was chosen over Sephardic for two reasons. I wished to have the s sound on the Hebrew letter sov rather than the t sound. In addition, Ashkenazic pronunciation is considered to be somewhat archaic since Sephardic is used in modern Hebrew. I felt this gave me artistic license to compose vocal lines containing correct or incorrect syllabic stress for purely musical effect. I deemed it necessary to state this at the outset of the score, lest one think that this composition contains errors in text-setting.Ashkenazic Transliteration An-im zemiros veshirim e-erog,Ki eilecho nafshi sa-arog.Naf-shi chimedo betseil yodecho,Loda-as kol roz sodecho,Midei daberi bichevodecho,Ho-me libi el dodecho.Ye-eravno sichi olecho,Ki nafshi sa-arog eilecho.English TranslationI will chant sweet hymns and compose songs,For my soul pants after you.My soul has longed to be beneath the shadow of your hand,To know all of your mysteries.Even while I speak of your glory,My heart yearns for your love.May my meditation be pleasant unto you,For my soul pants after you.

Alto Saxophone,Piano - Level 4 - Digital Download SKU: A0.1456619 By Marcos Fernandez-Barrero. By Marcos Fernandez-Barrero. Arranged by Marcos Fernandez-Barrero. 20th Century,21st Century,Chamber,Classical,Contemporary. Score and part. 33 pages. Marcos Fernandez-Barrero #1035694. Published by Marcos Fernandez-Barrero (A0.1456619). Work commissioned by the Rose-Gibbs Duo (Benita Rose and Tony Gibbs) – Prescott (Arizona, USA). This is a work ideal for both,  professional performers as well as students of the year before College level (ie. 17 years old)In the past, I had the chance to experience how performing with a musician who is also your personal partner (wife, girlfriend, etc.) can ease the process of merging together, enhancing the performance as if it were by a single musician rather than two separate individuals. So, when I was asked to write a piece for a duo in such circumstances, like the Rose-Gibbs Duo, I saw it as a great opportunity to explore the possibilities of blending, fusing, and merging musical content, sound, and other parameters into a cohesive whole.Therefore, this work explores the concept of musical discourse produced by the interaction of both instruments, which often have to align their accents, timbre, or dynamics to become one entity; as if melting together, as if two solids became liquid and fused to form a new alloy. The form and structure of the work are also influenced by this constant idea of blending, integrating the various sections into a single, unified movement.Written in Barcelona on July 2023______________________________________Obra encargada por el Rose-Gibbs Duo (Benita Rose y Tony Gibbs) – Prescott (Arizona, EE. UU.). Ideal para tanto músicos profesionales así como tamién para alumnos del curso antes del nivel Universitario de Superior (17 años aproximadamente)En el pasado, tuve la oportunidad de experimentar cómo el hecho de tocar con un músico que también es tu pareja personal (esposa, novia, etc.) puede facilitar el proceso de fusionarse, mejorando la actuación como si fuera realizada por un solo músico en lugar de dos individuos. Así que, cuando me pidieron componer para un dúo en tales circunstancias, como el Rose-Gibbs Duo, lo vi como una gran oportunidad para explorar las posibilidades de mezclar, fusionar e integrar el contenido musical, el sonido y otros parámetros en un todo cohesivo.Por lo tanto, esta obra explora el concepto del discurso musical producido por la interacción de ambos instrumentos, que a menudo deben alinear sus acentos, timbre o dinámicas para convertirse en una sola entidad; como si se fundieran juntos, como si dos sólidos se convirtieran en líquido y se fusionaran para formar una nueva aleación. La forma y la estructura de la obra también están influenciadas por esta idea constante de mezcla, integrando las diversas secciones en un solo movimiento unificado.Escrita en Barcelona en Julio 2023

Piano Solo - Level 5 - Digital Download SKU: A0.1211946 Composed by Irving Berlin. Arranged by Timothy Stapay/Liberace. Broadway,Easter,Film/TV,Musical/Show,Standards,Traditional. Score. 10 pages. Timothy Stapay #809498. Published by Timothy Stapay (A0.1211946). Easter Parade by Irving Berlin, is arranged as played by legendary piano showman, Liberace.  Here for the first time is the sheet music for this famous song, arranged as performed by Liberace.  Now you can learn to play this classic Easter Season song, just like this world-famous pianist.Easter Parade is a popular song, written by Irving Berlin and published in 1933. Berlin originally wrote the melody in 1917, under the title Smile and Show Your Dimple, as a cheer up song for a girl whose man has gone off to fight in World War I.  Berlin resurrected the tune, with modifications, and gave it the now-familiar Easter lyrics for the 1933 Broadway musical revue As Thousands Cheer, in which musical numbers were strung together on the thematic thread of newspaper headlines.In 1942, it was featured in the musical film Holiday Inn, in which it was performed by Bing Crosby. In 1948, it was performed by Judy Garland and Fred Astaire in the musical film Easter Parade, which was constructed around the song.Władziu Valentino Liberace(May 16, 1919 – February 4, 1987) was an American pianist, singer, and actor.  A child prodigy born in Wisconsin to parents of Italian and Polish origin, he enjoyed a career spanning four decades of concerts, recordings, television, motion pictures, and endorsements. At the height of his fame from the 1950s to 1970s, he was the highest-paid entertainer in the world!Lyrics below:[Verse 1]In your Easter bonnetWith all the frills upon itYou'll be the grandest ladyIn the Easter paradeI'll be all in cloverAnd when they look you overI'll be the proudest fellowIn the Easter parade[Chorus]On the avenue, Fifth AvenueThe photographers will snap usAnd you'll find that you'reIn the rotogravureOh, I could write a sonnetAbout your Easter bonnetAnd of the girl I'm takingTo the Easter parade[Chorus]On the avenue, Fifth AvеnueThe photographers will snap usAnd you'll find that you'rеIn the rotogravureOh, I could write a sonnetAbout your Easter bonnetAnd of the girl I'm takingTo the Easter parade

Choir Sacred Instrumental Ensemble - Digital Download SKU: JX.00-23735 So Glad I'm Here / I'm So Glad / New Born Again. Arranged by Jean Anne Shafferman and Patti Drennan. This edition: InstruPax. Choral (Sacred); Choral Octavo; Performance Music Ensemble; Single Titles; Worship Resources. Form: Medley. Fall; Gospel; Lent; Sacred; Spiritual; Spring; Trinity Sunday. Part(s). 37 pages. Jubilate Music Group - Digital #00-23735. Published by Jubilate Music Group - Digital (JX.00-23735). English. 1 Chronicles 29:10-13, Judges 5:2-3, Psalm 27, John 3:1-21, Romans 5:12-21, 2Peter 3:14-18.This rousing medley by Patti Drennan and Jean Anne Shafferman combines refrains from traditional spirituals and gospel songs. Opening with a slow, heartfelt solo that welcomes all believers into fellowship with God, it kicks into high gear when the choir enters singing So Glad I'm Here, I'm So Glad Jesus Lifted Me, and New Born Again. Great for congregational hymn sings and summer worship, it's also perfect as a choir start-up anthem at the beginning of the year, also for Lent and Trinity Sunday. The brass and rhythm parts add to the fun! Available in 2 voicings for singers of all ages.

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1327476 By Cheryl Prazak. By Lyrics: Cheryl Prazak and Music by Jon Burr. Arranged by Jon Burr. Contemporary,Country. Score. 15 pages. Cheryl Prazak #915493. Published by Cheryl Prazak (A0.1327476). If Only In My Dreams is a song of longing for a far away spouse sung by soldier stationed far away.Music, arranging and production by Jon BurrThe Lyrics:The moon shines bright, drifting through the pines tonight, The meadow lies blanketed with dew,Stars take their flight, chasing ‘way the lingering night, And I lie here dreaming, dear, of you.Lonely the nights, when I long to hold you tight, In my dreams, I linger and pretend.Ev’ning draws nigh, pensive fantasies take flight,My eyes close, dreamy visions descend.  Nights are cold and lonely; I’m so in love with you.Wrapped up in your arms, I surrender to your charms, If only in my dreams, can I hold you.Mournful day long, I am trying to stay strong.I can only sit here, dear, and dream.  Please play our song, you remember our love song,And together we will dream our dream.The moon gives way, breaking forth another day,And the last star’s twinkle has fade.I see your face, with the dawn of each new day, Morn breaks through, and I’m dreaming again.  Candles in the window, yellow ribbons on the door,When I see the glow and the ribbons I will knowThere you are, I will leave your arms no more.Every day will be a dream, dear, when I am there with you.Although we’re far apart, you linger in my heart, love of my life, my wonderful, amazing wife; my wonderful military wife.

Piano Solo - Level 3 - Digital Download SKU: A0.1507958 By Samuel Diniz. By Samuel Diniz. Arranged by Samuel Diniz. Christmas,Halloween,Holiday,Rock. Score. 2 pages. Samuelshetssbr #1083235. Published by Samuelshetssbr (A0.1507958). Hello again, everyone! I am back from the grave just in time for Halloween, with a spooky original piano solo for all three or so of my followers who haven't given up on me yet. I am alive, just too busy/too lazy to upload as often as I'd like. I'm hoping to get back to the once a week schedule now though.This is a piece I wrote quite a while ago and completely forgot about, then recently rediscovered. It needed surprisingly little tweaking, but I'm *mostly* sure I never uploaded it before in the first place. It doesn't exactly have a name, so if anyone has any suggestions, I'd love to hear them.

Piano Quintet,String Ensemble Cello,Piano,Viola,Violin - Level 4 - Digital Download SKU: A0.1499301 Composed by James Albert Yeager. 21st Century,Chamber,Contemporary. 99 pages. James A. Yeager #1075356. Published by James A. Yeager (A0.1499301). Foreword:Each movement revisits classic paradigms—sonata form (I), ternary song form (II), and sonata rondo (III). The three movements of this piano quintet share a common element contained in the seed of a motivic idea—the interplay between the minor and the major 3rd : a tonal ambiguity or conflict of the minor 2nd. Stylistically, this Sonata pays modest homage to neo-classicism of 20th Century composers such as Poulenc (I), Prokofiev, Shostakovich (III), and perhaps even a touch of Gershwin (II). I hope this piano quintet will offer players and their audience chamber music that is a bit unusual yet worthwhile. The Sonata embraces the lightheartedness, the melancholy , and the whimsy of nostalgia. There is no separate piano part.Performance Notes:I Moderately fast,  expresses dialogues of themes that move between piano and strings. The playfulness of the exposition (repeat is not optional) can give way to a more passionate building of the development to the climax at letter H. In the recapitulation the longer bridge remains steadily in tempo (no accelerando) relaxing just before letter N and theme two. The coda after letter O is a somber premonition of movement two.II Slowly, the bowings are ad libitum. The viola is chantlike and smooth. Violins glissando like the portamento of the Chinese stringed instruments, the Guqin or the Ehru type glissando leading to a very pure quiet long tones without any vibrato and the resulting fourth should be a pure tuning. The piano can use una corda ad libitum in softer passages, and the pedal (damper) ad libitum. In the B section (Letter D) pianist should treat the 64th notes like an ornament (upper mordent). Strings play the eighths after Letter G accents with strong bow changes. At the end, the piano lingers until the sound vanishes after the strings die away.III Introduction: Quick and spirited, the transition (Introduction) is measured and strict without alteration leading to letter A. The rondo theme, ‘A’ section, can slightly intensify in each successive repetition, but not slavishly. The small waltz or ‘B’ section, Letter C, the quartet might play to resemble a reed organ or harmonium—sweet, sonorous, and harmonious. The ‘C’ section, Letter G, big swell on short bridge passage, then pizz. strings become very rustic and like a peasant dance. Pianist can use una corda ad libitum in soft passages. Violins again after Letter I play similarly to non-vibrato of 2nd movement. The ‘B’ section at Letter L is now the grand waltz slightly faster and more indulgent with tiny rubatos tastefully allowed.James Albert Yeager (b.1946)James began his career as organist and choral conductor then harpsichordist and finally, professor of sacred music. As an organ major at The Ohio State University, he studied with Dr. Wilbur Held (B.Mus. 1969). Professor Joseph Goodman mentored him in composition at Union Theological Seminary in New York city (M. Sac. Mus, 1971). At the University of Colorado-Boulder, he returned to the organ, nevertheless, keeping composition as a mainstay (D.M.A. 1985).  He was appointed Director of Sacred Music at the Pontifical College Josephinum (Columbus, Ohio) and rose to the rank of Professor (1984-2009). He retired as professor emeritus in 2009 and moved to New Mexico. While residing in Mountainair, New Mexico, he was organist/choral director for 12 years at a major Albuquerque church retiring again in 2021. His most recent compositions include Passacaglia & Fugue for Organ and Chamber Orchestra (2022), a Fugue for Piano and Orchestra (2022), a Sonatina for Flute and Piano (2023), and the Sonata for Piano Quintet (2024) as well as several smaller works for voice and piano.

Piano Quintet Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.521726 By Clean Bandit Feat. Jess Glynne. By Grace Chatto, Jack Patterson, James Napier, and Nicole Marshall. Arranged by Sherry Lewis. Pop. 18 pages. Sherry Lewis Publishing #6408771. Published by Sherry Lewis Publishing (A0.521726). I'M YOURS String Orchestra for 2 violins, viola, cello and string bass chords such as C, Em, etc. Intermediate Level Score: 5 pages Parts: 10 pages Time: 3'50 MY QUARTET VERSIONS, in short notice work fine for solo, two parts and three parts however I also offer individual versions for one, two and three parts that are more detailed for these ensembles.Please visit  https://www.sheetmusicplus.com/search?Ntt=sherry+lewis+publishing for all of the titles I offer.If you can’t find a title then contact me through www.baysbest.com/smp-arrangeme/ and I’ll give you the link back to Sheet Music Plus’s listing.VERSATILE Titles that include four parts are written with the idea that they can be performed with 1, 2, 3 or 4 musicians. Most of the contemporary/popular titles include a chord chart for a bass instrument.PRACTICE needs would vary according to the level of the performers but my goal is to be sight-readable for most performers and groups. AUDIO SAMPLE The 30 second mp3 is frequently shortened and may not start at the introduction to get to the reprise. The actual introduction will be in the sheet music.LISTENABILITY I have performed thousands of weddings and special events. I make it a goal for the music to carry as well as possible through loud and large space situations. ARRANGEMENTS usually follow the original version. There is an mp3 where you can hear 30 seconds and get a feeling of the originality of the work.EXCELLENT for corporate events, weddings, social gatherings and recitals.APPROPRIATE for students and schools.CHURCH REPERTOIRE I’m always adding more titles. Sherry Lewis is a professional arranger and musician residing in Northern California. Thank you for your purchase!

Easy Piano - Level 3 - Digital Download SKU: A0.1047284 Composed by Sebastian C. Davis. Classical,Contemporary,Jazz,Multicultural,Traditional,World. Score. 1 pages. Sebastian #651837. Published by Sebastian (A0.1047284). Este exercício foi criado para desenvolvimento auditivo do indivíduo como músico, ao conhecer algo, fica mais fácil reconhecê-lo, então eu apresento a escala no modo grego que se chama Ionian (Jônico) a primeira escala de uma série de 7, também apresento os acordes que podem ser usados na aplicação do modo. Toquem e ouçam a sonoridade tanto dos acordes, quantos da escala, que está em Dó Jônico (C Ionian) Para a leitura de ambas as claves, a escala está disposta na clave de G e de F, os acordes estão transcritos para as duas mãos, o instrumento a ser usado para tocar esses acordes será o piano, mas nada impede que ele seja tocado pelo, violão por exemplo. - Gratidão! This exercise was created for auditory development of the individual as a musician, knowing something, it is easier to recognize it, so I present the scale in the Greek mode that is called Ionian (Ionian) the first scale of a series of 7, I also present the chords that can be used in the application of the mode. Play and hear the sound of both the chords, how many of the scale, which is in C Ionian (C Ionian) For the reading of both claves, the scale is arranged in the clave of G and F, the chords are transcribed to both hands, the instrument to be used to play these chords will be the piano, but I didn't ask him to be played by the guitar for example. Gratitude!

Brass Quintet - Level 4 - Digital Download SKU: A0.1489523 Composed by Dr. Daniel N. Thrower. 21st Century,Chamber,Classical,Film/TV. 31 pages. Https://gildedmusicpress.com/ #1066386. Published by https://gildedmusicpress.com/ (A0.1489523). Dimension Traveler, Op. 150, for brass quintet was completed 26 Mar 2024.  When I wrote the first few distinctive notes into the computer, my ten-year-old son said that it sounded “futuristic.”  Somehow that sparked memories of a novel I had started years ago, titled “Dimension Traveler,” based on dimensional theories I had developed.  With that fresh inspiration in mind, the piece wrote itself with opening movie credits in mind.The form is thematically palindromic, the center point being m. 77.  The beginning to rehearsal letter A mirrors K to the end; A to B is parallel to J-K; B-C = I-J; C-D = H-I; D-E = G-H; and the central thematic sections E-F = F-G.  Concerning that central turning point, the thematic material shifts from the trumpets’ first statement at letter E to low brass with the trumpets taking on the pointillistic accompaniment at letter F.  Of interest is the parallel of C-D and H-I wherein the motivic material, including dynamics, is quite literally reversed note for note to a climax.For aural aesthetics in performance, there is an optional cut from letter K to m. 142.  Thematically, the structure remains chiastic, but taking the cut simply truncates the end for a motivic flavor rather than repeating the entire opening entrée.  There is nothing wrong with purists performing the work in its entirety—it is simply a matter of taste among the performing ensemble members.Stylistically, this piece strays far from my typical compositions.  Besides the pervasive echoing eighth-note motifs, the key never changes, and there is no chromaticism.  Inspired in that regard by the masterpiece “Quintet” by Michael Kamen, the diatonicism often flows in planed clusters mildly influenced by the choral works of Eric Whitacre.  Another deviation from my well-established compositional habits is the instrumentation including bass trombone instead of tuba.  Of course the part can be played by a tubist, though the bass trombone meshes more seamlessly with the timbres of the other instruments in passing along the pervasively echoing eighth-notes.The individual brass parts appear deceptively simple, and indeed, they are not technically demanding besides a couple high notes in the trumpets.  However, putting this piece together in an ensemble setting is rhythmically treacherous!The four-minute final product indeed sounds like it could be the opening to an epic movie of the same title, based on the novel-in-progress.