Concert Band - Digital Download SKU: AX.00-PC-0016397_C_EDPAK C Educational Pack. Composed by Chris M. Bernotas. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0016397_C_EDPAK. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016397_C_EDPAK). UPC: 038081481692.A tuneful way to introduce students to the lyrical style and rollicking feel of traditional Scottish/Irish music. The Air is the melody from Gilderoy and is set with a contemporary harmonic palette that concludes with an exciting climax before transitioning to the jig. The Jig of Slurs is a traditional Irish dance with a melody and feel that is infectious! (2:30) Air and Jig correlates to Book 2, Level 2 of Sound Innovations for Concert Band.Concert/Contest; Festival.

Jazz Ensemble Jazz Ensemble - Digital Download SKU: A0.971633 By Stevie Wonder. By Stevie Wonder. Arranged by Wolfgang Schutzinger. Pop,Soul. Score and parts. 28 pages. Minus 500 Publishing #5218629. Published by Minus 500 Publishing (A0.971633). Concert Big Band Score. The arrangement captures the feel of this great Motown tune with those driving 16th note runs perfectly. There are no solo sections with the exception of a 4 bar drum solo fill. Instead, a three part counterpoint section involving the chorus melody and 2 re-occurring instrumental 16th note runs of the song serves as the climax. It is rather challenging, mainly for the brass instruments. Duration: 4' 09.

Choral Choir,Choral (TTBB) - Level 3 - Digital Download SKU: A0.1312203 By Barry Manilow. By Hugh Martin and Ralph Blane. Arranged by Andrew Wittenberg. A Cappella,Barbershop,Christmas,Holiday,Jazz. 3 pages. Wittenberg Arrangements #901063. Published by Wittenberg Arrangements (A0.1312203). A barbershop/jazz fusion of the popular Christmas song, Have Yourself a Merry Little Christmas. Written for TTBB ensembles, this arrangement starts tenderly and grows to a dramatic climax before returning to the intro material.

Piano Solo - Level 4 - Digital Download SKU: A0.931661 Arranged by Wanda J. Cooley. Easter,Holiday,Romantic Period,Sacred. Score. 7 pages. Wanda J. COOLEY #6257939. Published by Wanda J. COOLEY (A0.931661). HOLY, HOLY, HOLY - Piano Solo, with Overhead PDF Text includedThis short prelude begins introspectively and opens into a flowing Classical Style with gentle harmonic nuances. An extended crescendo of arpeggios alternating between the hands propels the piece to a powerful climax and then it gently floats upwards to underscore the text message.HOLY, HOLY, HOLY is also available at SMP within IN THE CROSS, a complete pianist's kit which presents the Gospel thru 10 hymn arrangements sequenced with Overhead PowerPoint Text. It also contains bulletin and organizational aids and promotional graphics so that the pianist's only responsibility is playing the music!

Piano,Violin - Level 5 - Digital Download SKU: A0.1027527 Composed by Martin Watt. Contemporary. 27 pages. Martin Watt #1989183. Published by Martin Watt (A0.1027527). The macro-structure of this single-movement work is cast in a modified sonata form. The exposition presents two contrasting themes, followed by the development of this material, and a recapitulation, which returns to thematic contents of the exposition. The modification of traditional sonata form lies in the recapitulation of the themes in reversed order. This reversal allows for the formation of an arch structure, where the climax is achieved in the middle of the work, rather than at the end. The recapitulation is truncated, as it restates the thematic material of the beginning in a more fragmented, referential and disintegrated form. Generally, the musical language is grounded in extended tonality, which serves as a platform for the organic treatment small musical units.

Piano Solo - Level 5 - Digital Download SKU: A0.846900 Composed by W. J. Kirkpatrick. Arranged by Sharon Kim. 20th Century,Christian,Concert,Sacred. Score. 6 pages. Song of Songs Music #6038309. Published by Song of Songs Music (A0.846900). This wonderful hymn has been dressed up in a post romantic style for pianists to perform in church or Christian events. It starts peacefully with sweet reharmonization but soon develops into diverse ambiences to reach the enormously dramatic climax. The colorful mid section with sweet and delicate harmonies will bring smiles on your face.Performance duration; approximately 4 minutes.Level: for concert pianists and professional or passionate advanced pianistsPlease visit ‘Sharon’s Pure Music Creation’ to request a free tutorial video from the arranger, pianist Sharon Kim who has over 30 years of teaching experiences if you need one.

Full Orchestra - Level 3 - Digital Download SKU: A0.1373850 Composed by David Cundy. 21st Century,Chamber,Classical. 45 pages. David Cundy #958324. Published by David Cundy (A0.1373850). This is a 6:00 min piece for solo violoncello and orchestra, which is a musical representation of some of Western Victoria in Australia.  The piece depicts rising up the 335 metres (1100 feet) or so from Melbourne through the Rowsley Fault to Ballarat, then continuing across the Western District Plains, culminating in a climb up Mount Sturgeon, next to Dunkeld and coming to the top, which one will notice when driving from Hamilton to Dunkeld, has quite a steep cliff face. This is the climax of the piece. It is majestic and serene.Suitable for an amateur or school orchestra.© Copyright 2024 David Cundy.

String quartet - difficult - Digital Download SKU: S9.Q771471 ‘hana no hanataba’. Composed by Julian Anderson. Downloadable. Duration 23 minutes. Schott Music - Digital #Q771471. Published by Schott Music - Digital (S9.Q771471). My 3rd String Quartet is in six contrasted movements. Certain musical figures recur across the work, but there are few themes as such. The main emphasis is on contrast of mood, texture, harmony, pacing and timing. Unlike many of my works this quartet had no extra-musical inspiration, and in principle should have no subtitle. Certain features already present in my music became more prominent in this new work: modes (limited collections of pitches) have always helped me to focus musical character, but here a sense of key note for each mode became much more pronounced, as did the difference between modes for each section of the work. A sort of hybrid key-system emerged (even with equivalents of major and minor) which is not normal tonality, nor does it aim to imitate it. Unlike tonality this key-system includes noises, extended performance techniques and intervals outside Western tuning as available resources. What I hope it does is to focus the listening experience onto different musical areas, to encourage a sense of both modulation from one area to another and to give the music a sense of goal. No conscious knowledge of this is needed when listening: the music should communicate directly on its own.Here, then, is this collection of six musical colours, related and unrelated, different yet belonging together, variable yet in a set order. Hence the subtitle, chosen both for both its sound and its sense: ‘hana no hanataba’ meaning, in Japanese, ‘bouquet of flowers’.A brief description:1)Moderately fast. Short droplets of sounds gather increasing momentum. 2)Very fast. Canons and bells at different speeds.3)Very slow – fast – very slow – very fast – very slow. The main slow movement and its main scherzo. An emphasis on non-tempered tunings and on inhaling and exhaling waves of sound. The slow sections feature florid melodic writing. In the exuberant scherzo competing duos and trios create imaginary folk music.4)Extremely fast/extremely slow. Open strings and harmonics fuse into a single string instrument – like a sort of large resonating Medieval tromba marina.5)Very fast. A variation on movement 2). Variation, Schoenberg told Cage, is just a sort of repetition ‘with some things changed and others not.’6)Slow - Very Fast - Fast – Slow. The opening calm harmonies and florid melodies evoke movement 3) in different music. The fast part features one overt theme: a fanfare-like call to attention which is subject to extensive development. There is much use of non-Western tuning. At its climax the music freezes into a frieze – a wall of sound standing in front of the audience with increasing obstinacy and certainty as the work grinds towards its cadence.

Brass Ensemble - Level 5 - Digital Download SKU: A0.811024 Composed by Nicholas Francis. 20th Century,Contemporary,Romantic Period. Score and parts. 55 pages. Gordon Cherry #4728677. Published by Gordon Cherry (A0.811024). Nick Francis is a very talented Canadian composer. His Quintet's 3 movements are fused into a single macro-movement of about 17 minutes in length. The work requires advanced performers with the Trumpet parts being in C. The work opens with a gentle hymn.  The music gradually works itself up into a heroic tune.<P> The second movement begins in the barren wasteland left by the disintegration of the first. After a time, paraphrased fragments of the Anglican seafaring hymn Eternal Father begin emerging. Gradually the earlier wasteland feel begins to bloom, and the movement closes quietly in E major.  The Finale is in two sections. The 2nd section brings the music back to E-flat major, with all of its heroic properties, and heads the quintet towards a thunderous climax followed by a mad gallop to the finish. This music is dedicated with deep gratitude to Nate and to all the members of the Sapphire Brass, without whose confidence in new music it might never have been written.

Upper voices (SSSA) and piano - Digital Download SKU: OX.9780193542266 Composed by Bob Chilcott. Sheet music. Octavo. 9 pages. Oxford University Press Digital #9780193542266. Published by Oxford University Press Digital (OX.9780193542266). ISBN 9780193542266.For upper voices (SSSA) and piano. The music is dynamic, with some funky writing for the piano, and builds to a fabulous climax where several themes are deftly combined together. A great piece to end a concert.

Brass Quintet Baritone Horn TC,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1273084 By Keith Terrett. By Duke Ellington/Barney Bigard. Arranged by Keith Terrett. 20th Century,Jazz,Standards. 11 pages. Keith Terrett #865274. Published by Keith Terrett (A0.1273084). An arrangement of C Jam Blues for Brass Quintet. The extra parts are not necessary, but are provided if you have extra players such as a Bb Piccolo Trumpet & Bb Trombone/Euphonium in TC.New Orleans-born clarinetist Barney Bigard is likely the originator of this tune, a simple blues riff in the key of C. Since Bigard was a veteran member of Duke Ellington’s Orchestra in 1941, Duke had a slice of the pie, too, and undoubtedly arranged the piece for the orchestra. Yet Duke referred to the number somewhat disparagingly as “one of our more or less trite things.�The number was introduced in a Soundie short film. These three-minute features, produced to be shown on a jukebox-type player, illustrated the band miming to a pre-recorded performance. Entitled “Jam Session� the Soundie was filmed late in 1941 along with four other Ellington numbers. Duke introduces various band members, who then solo: Ray Nance (violin), Ben Webster (tenor sax), Rex Stewart (cornet), Joe “Tricky Sam� Nanton (trombone), and Sonny Greer (drums). The complete ensemble carries the tune to its finish with composer Bigard (clarinet) providing some improvised upper register piping.“C Jam Blues� was formally recorded under that title in January, 1942, for RCA Victor Records. It continued be a staple of the Ellington repertoire, generally featuring a handful of the soloists in the band.Co-composer Barney Bigard left Duke’s band in June 1942, and after a period of freelancing joined Louis Armstrong’s All-Stars in August, 1947. “C Jam Blues� was one of his nightly features with Satch’s ensemble along with “Tea for Two.� Despite playing the tune hundreds, or perhaps even thousands of times during his tenure with Ellington and Armstrong, he continued to perform it during his freelance years in the 1950s until shortly before his death in 1980.In the late-1950s very simple words were added (“Baby, let’s go down to ‘Duke’s Place’,� etc.) which strangely took a three-member team of writers to assemble: songwriters William Katz and Ruth Roberts and record producer Bob Thiele. Clarinetist Barney Bigard was not included in the composer credits of the song version, although he was a member of Louis Armstrong’s All-Stars when they recorded “Duke’s Place,� featuring Louis on the vocal, with Ellington in 1961.The piece typically features several improvised solos. The final solo continues in the upper register as the entire ensemble comes in and the music grows to a climax. The melody likely originated from the clarinetist Barney Bigard in 1941, but its origin is not perfectly clear.It was also known as Duke’s Place, with lyrics added by Bill Katts, Bob Thiele and Ruth Roberts Western Swing band leader Bob Wills and His Texas Playboys recorded the song sometime between mid-1945 through 1947 as part of the Tiffany Transcriptions.The 10-note occasional riff formed the basis of the Bonzo Dog Doo-Dah Band’s novelty song Intro Outro.Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com.

Piano Solo - Level 2 - Digital Download SKU: A0.1376326 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Instructional,Jazz,Singer/Songwriter. Score. 1 pages. Heidi Savoie #960870. Published by Heidi Savoie (A0.1376326). This is a solo piano arrangement of Almost May, best suited for an early intermediate player. Almost May - Theme and VariationsBackstory: Years ago I wrote a simple piano piece for my students. As instrumental music can fully exist outside the confines of words, it can be difficult to find the right title for something that is pure sound and possibility. I took inspiration from the time of year in which I had composed it and stamped it, “Almost May�. Like springtime in the Northern Hemisphere, “Almost May� unfolds slowly and majestically, with ever-evolving layers for the senses to discover. What to listen for: ThemeThe main theme is first presented by the piano with minimal fanfare. This part was written to be easy enough for a child, which despite being sparing of notes, delivers rich harmonic content. Every note has been carefully curated for the optimal combination of accessibility and depth. Weaving chromatically into distantly-related keys, the melody takes small steps into contrasting musical spaces. In a wordless procession, the storyline plays out, as if the theme discovers that someone very different lives next door, and they slowly become inseparable. The piano is accompanied by an airy touch of brushes against a snare drum, like the pitter patter of soft feline steps. In the low frequency range, the upright bass supports and deepens the tonal palette with its earthy underpinnings. What to listen for: Variation I The unmistakable string section arrives like a breath of warm air. Lush, warm and reassuring like sunshine on your cheeks, the string parts begin with long tones. This broadness and stability will evolve into more layers of complexity throughout the section. While the role of the string section is background accompaniment, it undergoes textural changes which allow for some layers to briefly rise to the forefront as melody. Careful listening to the string parts will reveal an oceanic churning, a motion from background to foreground with expansions and contractions along the way. Floating overtop this density is the improvised piano solo, with ascending gestures that progress in detail and density. Each instrument enters a general unfolding and growth period in the first variation. The bass and drums include more fills than before, as the ensemble tends gradually toward more grandeur. What to listen for: Variation II The final variation opens with a decadent treatment of the melody. What was initially expressed by a soloist as a childlike plea is reimagined as a two-part conversation between the piano and lead viola. The obbligato voiced in the viola is a derivation of the melody that holds the space between phrases so the listener's attention is passed seamlessly between the piano and viola part. This dialogue features commentary on the original melody in the form of ornamentation and taking surprising pathways to expected destinations. The rhythm section (bass and drums) takes more liberties in creating a verdant soundscape as the ensemble rises to a final climax.

Concert Band - Digital Download SKU: AX.00-PC-0000833_WPTBETC (wp) E-flat Tuba T.C.. Composed by Craig Andrew Fitzpatrick. Instructional. World Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0000833_wpTBETC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0000833_WPTBETC). UPC: 038081274300.All things . . . for concert band, is a setting of the traditional tune All Things Bright and Beautiful. The melody, while undergoing quite a few variations and transformations, still remains true to the original lyric quality hymn tune. Initially, the hymn is fragmented and slowly is presented in larger pieces as the work progresses. At the climax of the piece a clear and exuberant presentation of the original tune can be heard. The piece then concludes by returning to where it began by fragmenting the melody again and fading into the distance.Concert/Contest.

Concert Band - Digital Download SKU: AX.00-PC-0015365_TN3 3rd Trombone. Composed by Robert Buckley. Instructional. Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0015365_TN3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015365_TN3). UPC: 038081431383.Imagine a misty hall of mirrors where, one by one, colorful, bizarre characters materialize out of the shadows and begin dancing a wild, mysterious waltz. Starting tentatively at first, the music whirls and twirls, spinning and turning, eventually becoming faster and faster, building to a frenzied climax when, in a puff of smoke, everyone disappears! Featuring solos for trumpet, alto saxophone, flute, and clarinet, and a duet for piccolo and tuba, Smoke and Mirrors is full of sweeping melodies, energetic percussion, harmonic surprises, and dramatic shifts in dynamics. Sure to bring a spark of magic to any concert. (5:00)Concert/Contest.

Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1077832 Composed by Alan Bullard. Classical,Contemporary. Score. 7 pages. Colne Edition / BullardMusic #682016. Published by Colne Edition / BullardMusic (A0.1077832). The poet Edmund Blunden served in the First World War, seeing continuous action in the front line. He spent his later years in Long Melford, Suffolk, where he wrote this poem in 1964: the mill-pond in the centre of the village reminded him of events of nearly 50 years previously, still clearly etched in the his mind. Bullard’s setting responds to this powerful imagery with troubled simplicity in the outer sections framing anguished memories of the battlefield at the central climax, making a telling recital piece railing at the futility of war.