Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1126313 Composed by Philip Le Bas. Christian,Christmas,Praise & Worship,Religious,Sacred. Score. 8 pages. Philip Le Bas #727017. Published by Philip Le Bas (A0.1126313). A new Christmas carol by Philip Le Bas for unison voices (with occasional divisi) and piano, setting the words of William Blake's poem A Cradle Song from his collection entitled Songs of Innocence. The very title of Blake's poem calls out for it to be set to music. Indeed the poem is a straightforward lullaby for the first few stanzas, sung softly by a mother over her sleeping baby, as she marvels at the wonder of this beautiful infant and expresses her love for the child. Her own anxieties and weeping for the child remind her of the Christ-child who also wept as a vulnerable baby. But as God incarnate he wept for me, for thee, for all, and brought peace to heaven and earth. (Blake uses the word beguile perhaps to indicate the paradoxical nature of a weeping God bringing redemption to a suffering world by becoming a vulnerable human baby himself.) The composition aims to avoid unnecessary complexity in the vocal parts, so that it can be sung easily particularly by a parish choir. However, it also attempts to capture some of the beauty, drama and mystery of the scene expressed by Blake. The piece begins and ends in stillness, and there are gentle climaxes here and there, reflecting some of the rise and fall of the poem's lyrics. It could be sung by a mixed or single-voice choir, but note should always be taken of the predominantly quiet dynamics of the piece, especially in the first half. https://www.sheetmusicdirect.com/en-US/se/ID_No/1216185/Product.aspx https://plbmusic.blogspot.com A Cradle Song from Songs of Innocence by William Blake (1757-1827) Sweet dreams, form a shade O'er my lovely infant's head! Sweet dreams of pleasant streams By happy, silent, moony beams! Sweet Sleep, with soft down Weave thy brows an infant crown! Sweet Sleep, angel mild, Hover o'er my happy child! Sweet smiles, in the night Hover over my delight! Sweet smiles, mother's smiles, All the livelong night beguiles. Sweet moans, dovelike sighs, Chase not slumber from thy eyes! Sweet moans, sweeter smiles, All the dovelike moans beguiles. Sleep, sleep, happy child! All creation slept and smiled. Sleep, sleep, happy sleep, While o'er thee thy mother weep. Sweet babe, in thy face Holy image I can trace; Sweet babe, once like thee Thy Maker lay, and wept for me: Wept for me, for thee, for all, When He was an infant small. Thou His image ever see, Heavenly face that smiles on thee! Smiles on thee, on me, on all, Who became an infant small; Infant smiles are His own smiles; Heaven and earth to peace beguiles.

Instrumental Duet Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.914316 Composed by Chretian Urhan. Arranged by Heather Knezevich. Christian,Contemporary,Sacred,Wedding. Score and parts. 7 pages. Songs of Praise #6364761. Published by Songs of Praise (A0.914316). Written for 2 pianos, this arrangement draws inspiration from Romanze, Op. 118, No. 5 by Brahms. This less familiar hymn tells of the perfect beauty found in Immanuel's land. In the first verse, the arrangement is in a simple processional style.  The second verse changes key and thoughtfully contemplates that Christ, He is the fountain, the deep, sweet well of love! The final verse returns to the original key and climaxes as it depicts the last stanza of the hymn where Christ is pictured as the Bridegroom. This arrangement is appropriate for weddings, funerals, and regular church services, as well as student recitals. 

SATB chorus and piano - Digital Download SKU: OX.9780193541436 Composed by Bob Chilcott. Sheet music. Octavo. 7 pages. Oxford University Press Digital #9780193541436. Published by Oxford University Press Digital (OX.9780193541436). ISBN 9780193541436.For SATB and piano. Happy the man's gentle pace, tender harmonies, and flowing piano accompaniment perfectly capture the reflective and uplifting message of John Dryden's text. Featuring stirring climaxes and expressive vocal lines, this piece will give rise to a moving performance.

SATB choir (a cappella) SKU: LO.10-5367S Composed by Timothy P. Cooper. Choral. Sacred Anthem, Lent. Octavo. Sacred Music Press #10/5367S. Published by Sacred Music Press (LO.10-5367S). ISBN 9780787768782.Joseph Plunkett's text, highly suitable for Lent, sees the sacrifice and character of the Savior infusing everything in the world: I see His blood upon the rose, and in the stars the glory of His eyes. Timothy Cooper's setting is richly expressive, building to several powerful climaxes before ending with a quiet reflection on seeing that His cross is ev’ry tree..

String Orchestra - Level 5 - Digital Download SKU: A0.533701 Composed by Carson Cooman. Baroque,Contemporary,Standards. Score and parts. 77 pages. Musik Fabrik Music Publishing #3038897. Published by Musik Fabrik Music Publishing (A0.533701). Concerto for Portatif Organ and Strings (2006) was commissioned by the Harvard Baroque Chamber Orchestra and its director, Robert Mealy. The work is dedicated to organist Nancy Granert, for whom the solo part was written. The work was commissioned in celebration of the von Clemm Chamber Organ at The Memorial Church, Harvard University, built in 2006 by Klop Organ Builders.As with many of my works, relationships between old and new musical concepts are explored. In this piece, musical aspects of the Baroque organ concerto tradition (and Baroque style string playing) co-exist with more contemporary musical elements. In particular, the directness of expression found in many Baroque concertante works is present throughout. Musical material is shared between the movements in a motivic fashion.The title of the first movement, Bricolage, is defined as “something made or put together using whatever materials happen to be available.â€�   Thus, the musical material for the movement is of varying characters; these elements are assembled together in ways that allow them to comment on and inform each other. Some of these musical elements include: a traditional “overtureâ€� texture, a Basse de Trompette texture (with an organ reed stop in the left hand) common in French Baroque organ music, and the French keyboard toccata style.The second movement, Elegia, is dark and searching in tone. It begins with a rageful roar before quieting down to introduce its basic musical material – a simple “lamentâ€� theme in a folk-inflected style. This material is used for further explorations, building to passionate climaxes. Finally, the opening music returns, but this time with a whisper. The movement winds down to a sad conclusion.After the soul-searching of the second movement, the third movement, Rondeau, is sprightly and energetic. The basic material is a set of Baroque and Classical-style figurations (with a few American gospel inflections thrown in), firmly grounded in G major. After minor diversions, the original material continues to return and ends the work with unfettered joy.

Piano Solo - Digital Download SKU: A0.910641 Composed by Sebastian Thomas. Contemporary. Score. 12 pages. Sebastian Thomas #5758697. Published by Sebastian Thomas (A0.910641). As seen on my TikTok account, this piece goes from beautiful melodies to thunderous climaxes. It borrows stylistic elements of 20th C. and Romantic piano music from Russia, culminating in an epic piano work, fit for recitals. Although some sections may appear much harder than others, there are patterns which allow this piece to be learned without too much difficulty by accomplished pianists.

String Orchestra - Level 4 - Digital Download SKU: A0.987154 Composed by Antonio Vivaldi. Arranged by Jonathan Cohen. Baroque,Instructional,Opera. Score and parts. 26 pages. Ravine Music Publishing #2016873. Published by Ravine Music Publishing (A0.987154). Grade 4 This exciting string orchestra arrangement of Vivaldi's Concerto for Two Cellos will be a hit with your intermediate to advanced group. No longer featuring soloists, this arrangement turns Vivaldi's work into a concerto for orchestra. The original flashy solo parts are broken up into lively and nimble conversations between all the different instrument groups. The impelling rhythms crescendo in unison to dramatic climaxes. All sections of the orchestra get to be involved in this energetic masterpiece.

Organ - Level 5 - Digital Download SKU: A0.534661 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Halloween. Score. 16 pages. Musik Fabrik Music Publishing #5739561. Published by Musik Fabrik Music Publishing (A0.534661). Over the years 1908–16, Debussy had produced a viable scenario for Usher on his third attempt. But when he came to making a complete draft of the music, he seems to have lost interest during Roderick Usher’s long monologue, even though he was setting his own text. As in No-ja-li he jumped to the next passage that interested him, in this case the exciting final melodrama and the collapse of the Usher house itself.In the process of completing the missing half of the score, I discovered that by reusing Debussy’s material for similar psychological situations across the opera, and by metamorphosing existing ideas (as Debussy does with Mélisande’s theme in his opera Pelléas et Mélisande), the only things I really needed to add were linking material and any passages where fast music was required. So the ‘nightmare scherzo’, and Lady Madeline’s escape from her coffin and her final bloody revenge on her brother are all mine, but most of the rest is existing Debussy in changing contexts (in which the Russian technique of ‘changing backgrounds’, both harmonic and textural, proved extremely useful, as it did to Debussy in his Prélude à l’après-midi d’un faune). Eventually, both my completed ballet No-ja-li and the House of Usher were successfully premiered in 2006 and the latter soon began to find its way into the established repertoire in Europe and the US. To further support this, I transcribed some of the highlights of Debussy’s score as A Night in the House of Usher for organ, and subsequently piano—with a focus on Scene 2 and the final, horrific and maca-bre melodrama. This climaxes in the double deaths of Roderick Usher and his Sister Madeline, together with the disintegration of the ill-fated House of Usher into the stagnant lake-all beneath a blood-red moon.In this form it was first performed by Ian Buckle in the Howard Assembly Rooms, Leeds in 2010.

Brass Ensemble - Level 3 - Digital Download SKU: A0.924441 By Lee Greenwood. By Lee Greenwood. Arranged by Joseph M. Chopp. Country. Score and parts. 14 pages. JOSEPH M CHOPP #4592163. Published by JOSEPH M CHOPP (A0.924441). This stirring composition was written and recorded by Lee Greenwood in 1984 and is considered to be his signature song. It has become one of America's most beloved patriotic songs, sung at most venues where patriotism is on display.Each instrument has interesting passages throughout the piece featuring flowing sixteenth-note phrases supporting the melody. Emphasis should be focused on the many and varied dynamic contrasts, especially the softs, as the piece builds to several fortissimo climaxes.Playing time = 3.5 minutes For more great brass quintets, just search CHOPP at SheetMusicPlus and MusicForBrass.com for pop and classical respectively.  Thank you.  jmchopp@hughes.net   .

Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar.  â€˜Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. Th.

Piano Solo - Level 4 - Digital Download SKU: A0.887961 Composed by Felice Giardini. Arranged by Graham Yates. 20th Century,Easter,Sacred,Standards. Score. 4 pages. Graham Yates #3887213. Published by Graham Yates (A0.887961). Fantasy based on a famous hymn tune. This reflective piece is suitable as a church service meditation or offertory. Faintly reminiscent of Rachmaninoff's Prelude in G Major, the piece begins in melancholic doubt and climaxes exuberantly before ending with a four-part hymn quote. Duration 2:30. Technically advanced, but the expressive elements may be drawn out to accommodate intricate rhythms or big leaps making the piece more accessible to a late intermediate level performer. For more information, contact graham.yates@gmail.com.

Flute Solo - Level 1 - Digital Download SKU: A0.1181218 By Yann Tiersen. By Yann Tiersen. Arranged by Fabio Eduardo de Oliveira. Classical,Film/TV. Individual part. 2 pages. Fabio Eduardo #781056. Published by Fabio Eduardo (A0.1181218). FREE DOWNLOAD PLAYBACK https://www.fabioeduardomusiconline.com/freedownloadComptine D'un Autre Été: L'après Midi is considered one of Yann Tiersen's best piano compositions, from the album Amélie. These songs were the soundtrack for the French Academy Award winning motion picture film 'Le Fabuleux Destin d'Amélie Poulain. Yann Tierson is a noted French composer, most famous for Amélie. His music is mostly composed for piano, harpsichord, violin, and accordion. The animation is from Aniboom Animations, describing life as a song. The depiction is more on a meloncholy scale, describing the major climaxes of the life of an old man as his wife's death, his friend's death on the battlefield, and the rapture of his grandson.

Instrumental Duet Cello,Instrumental Duet,Piano - Level 4 - Digital Download SKU: A0.956124 Composed by Sherry Shieh. 20th Century,Baroque,Contemporary,New Age,Romantic Period. Score and parts. 8 pages. Sherry Shieh #5771535. Published by Sherry Shieh (A0.956124). CONTINUOInspired by the first of J.S. Bach's unaccompanied six cello suites, CONTINUO is an imaginative take to de-construct Bach and give it a modern face-lift. CONTINUO transforms Bach’s harmony into an electrifying song which with every repetition takes the music into a higher level and eventually climaxes with a cello cadenza at the end (improvised by cellist Adrian Daurov). Its steadfast driving force gives the impetus to keep the crescendo of our lives going, never stopping or pausing, even in dire circumstances. The high-spirited brio of the coda reinstates the powerful strive for life with almost frenetic vigor.DURATION: 3 min 30 secSUITABLE FOR:Any classical/chamber and church concerts. A show stopper, a great opening music. Appropriate for professional performers, teachers & students.ABOUT THE COMPOSER:www.sherryshieh.comABOUT THE DUO: www.aninternationalaffair.comIG: www.instagram.com/aninternationalaffairFB: https://www.facebook.com/AIAtheduo/ 

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1021643 Composed by Robert E. Benton, Jr. A Cappella,Praise & Worship,Sacred,Spiritual. Score. 2 pages. Robert E. Benton, Jr. #6136421. Published by Robert E. Benton, Jr. (A0.1021643). This hymn climaxes in each verse with the wonderful reality that God’s love has filled the believer’s heart. The poetic expression of God’s love and grace in the text, which is based on Romans 5, is matched fully by the beautiful melody paired with a Dorian harmony.    The hymn is in SATB piano score (hymn) format for congregational singing, choral singing, ensemble, or solo; whether acapella, or with piano accompaniment.   For more information… Website: https://TRUSTHYMN.wordpress.com     Email:  TRUSTHYMN@yahoo.com Facebook: https://www.facebook.com/TrustHymn Instagram: https://www.instagram.com/trust_hymn/

Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. â€˜Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.