Large Ensemble Bassoon,Cymbals,Djembe,Glockenspiel,Gong,Multi-Percussion,Oboe,Piano Accompaniment,Snare Drum,Tambourine,Triangle - Level 5 - Digital Download SKU: A0.918688 Composed by Jenni Brandon. Contemporary. Score and parts. 86 pages. Jenni Brandon Music #5720435. Published by Jenni Brandon Music (A0.918688). Double Concerto for Oboe and Bassoon with Wind Symphony (JB 136) by Jenni Brandon: This piece tells the story of our Galaxy, of the great unknown and what lies beyond, and where we belong within this vastness of space. Written for Scott Pool, Rogene Russell and the University of Texas at Arlington Wind Symphony under the direction of Douglas Stotter.This work was funded by a grant from the UT Arlington Research Enhancement Program. This is a great recital work to showcase excellent college or professional double reed performers. This work is also available as a Double Concerto for Oboe and Bassoon with Wind Symphony (JB 156) through Jenni Brandon Music - www.jennibrandon.comSingle movement with sections: I. The Spiral Galaxy; II. Travelling through the Milky Way; III. The Orion Spur: The Blue Planet Waltz; IV. Supermassive Black Hole: Falling into the abyss…; V. Dark Matter: …an elementary particle that pervades the universe.; VI. The Orion Nebula: We are made of star-stuff.; ...Flying through the Spiral GalaxyDuration 18:30. Instrumentation: oboe, bassoon, piano, percussion(suspended cymbal, glockenspiel, triangle, gong, snare drum, tambourine, sand block, Djembe)When printing - print two copies of the oboe/bassoon solo part as they are on the same part.Jenni Brandon Musicwww.jennibrandon.comASCAP

String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.882928 Composed by Vahram Sarkissian (Sargsyan). 20th Century,Contemporary. Score and parts. 55 pages. Vahram Sargsyan #2803825. Published by Vahram Sargsyan (A0.882928). EpitaphiosThe idea to write a piece which would embed various eastern instrumental playing techniques into western aesthetic milieu was the main musical trigger for Epitaphios. There are some pre-existing musical materials involved in the creative process. First and the main reference comes from so-called Seikilos Epitaph - a Hellenistic ancient Greek song which is the oldest surviving example of a complete musical composition. It is notated on a tombstone, a stele dating back to around 1st century AD which was found in present western Turkey. Other 2 main references are nearly tonal neo-romantic sacred music and perhaps most interestingly microtonal Middle Eastern music ornaments peculiar to traditional bowed string instruments such as Kamancha. By correlation and superimposition of these 3 different styles the composer created a complex, multilayered somewhat eclectic atmosphere which may allusively reflect the composite approach to the problem of life and death from rational, emotional and spiritual perspectives.The recording is a live performance by Movses Pogossian and Armen Derkevorkian, violins, Tien-Hsin Cindy Wu, viola, Vardan Gasparyan, cello at Zipper Hall, Los Angeles (2015).Vahram Sarkissian (Sargsyan)One of the most distinguished Armenian composers of his generation Vahram Sarkissian is best known for his choral and chamber works that have been widely performed throughout Europe, Asia and North America. His style represents a palette of multicultural creative initiatives influenced by numerous traditions and practices spanning from V century Armenian medieval chant to previously unreported endogenous vocal extended techniques.

Choral Choir,Choral (SATB divisi) - Level 4 - Digital Download SKU: A0.1307163 Composed by Jay Dougherty and Justin La. 21st Century,Contemporary. 37 pages. Jay Dougherty #896417. Published by Jay Dougherty (A0.1307163). Phoenix Cantata is a six-movement vocal and piano work that explores the themes of resilience and the transformative power of change. The music and lyrics are the creative work of Dr. Jay Dougherty, while the piano accompaniment is skillfully crafted by Justin La.Drawing inspiration from the mythical symbolism of the phoenix, this cantata narrates the journey through life's challenges and tribulations and explores how we can learn to comprehend, embrace, and grow from them. Although the Phoenix is not explicitly mentioned, the underlying message resonates with the tale of the phoenix: after facing adversity or transformation, we emerge stronger and more beautiful. Each of the 6 movements centers on a flower garden, the gardener's affection for the garden, the looming storm that could devastate it, and the gardener's eventual realization that, even after the storm, the garden remains beautiful and precious.Through its exploration of growth, understanding, and acceptance, Phoenix Cantata explores the universal experiences of adversity and change that we all encounter at various stages of our lives. The phoenix, serving as a symbol of rebirth and renewal, becomes a powerful metaphor for our ability to rise stronger and more resilient from the ashes of hardship.Five of the six movements are accompanied by piano, with one movement being a cappella. The a cappella movement, while split into 11 parts, is quite simple, as these 11 parts simply drone the tones of the overtone series on oo. Movement 4 features a soprano soloist in addition to the SATB chorus and splits into 10 aleatoric parts in the middle section.Please purchase one copy for each individual singer.For more information on compositions and arrangements by Jay Dougherty, visit: www.jmdougherty.com.

Clarinet Quartet,Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.1435016 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Chamber,Contest,Festival,Historic,Standards. 45 pages. Jmsgu3 #1015109. Published by jmsgu3 (A0.1435016). BACH: Partita No. 1 BWV 825. Contents: Praeludium, Allemande, Courante, Sarabande, Menuet I, Menuet II, Gigue. Johann Sebastian Bach's Partita No. 1 in B-flat Major, BWV 825, is a highly significant and influential work for several reasons: It is part of Bach's monumental Clavier-Übung (Keyboard Practice), a collection of some of his greatest keyboard works published in 1731. The Partitas were groundbreaking compositions demonstrating Bach's mastery of counterpoint, harmony, and keyboard technique. Bach referred to the Partitas as his Opus 1, indicating their importance as his first major published keyboard work aimed at refreshing the spirits of music lovers. The Partita No. 1 was the first of the set, published in 1726 and dedicated to a newborn prince. The work expanded the traditional Baroque Partita form by adding a Prelude and two Minuets, showcasing Bach's innovative compositional approach. Each dance movement is a masterful example of its style, from the virtuosic Praeludium and Gigue to the expressive Sarabande. It profoundly influenced subsequent composers and established Bach as a keyboard music pioneer. The Partitas' technical demands and musical depth set new standards for the genre. So, Bach's Partita No. 1 is a seminal work that exemplifies his genius as a composer, innovator, and keyboard master, making it one of the most important compositions in the Baroque era and the history of Western music.

Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.1430706 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Chamber,Contest,Festival,Historic,Standards. 44 pages. Jmsgu3 #1011205. Published by jmsgu3 (A0.1430706). BACH: Partita No. 1 BWV 825. Contents: Praeludium, Allemande, Courante, Sarabande, Menuet I, Menuet II, Gigue. Johann Sebastian Bach's Partita No. 1 in B-flat Major, BWV 825, is a highly significant and influential work for several reasons: It is part of Bach's monumental Clavier-Übung (Keyboard Practice), a collection of some of his greatest keyboard works published in 1731. The Partitas were groundbreaking compositions demonstrating Bach's mastery of counterpoint, harmony, and keyboard technique. Bach referred to the Partitas as his Opus 1, indicating their importance as his first major published keyboard work aimed at refreshing the spirits of music lovers. The Partita No. 1 was the first of the set, published in 1726 and dedicated to a newborn prince. The work expanded the traditional Baroque Partita form by adding a Prelude and two Minuets, showcasing Bach's innovative compositional approach. Each dance movement is a masterful example of its style, from the virtuosic Praeludium and Gigue to the expressive Sarabande. It profoundly influenced subsequent composers and established Bach as a keyboard music pioneer. The Partitas' technical demands and musical depth set new standards for the genre. So, Bach's Partita No. 1 is a seminal work that exemplifies his genius as a composer, innovator, and keyboard master, making it one of the most important compositions in the Baroque era and the history of Western music.

Guitar - Level 3 - Digital Download SKU: A0.1214983 By Neil Diamond. By Neil Diamond. Arranged by Dan Jones www.danjonesguitarist.com. Classical,Pop,Singer/Songwriter. 55 pages. DanJonesGuitarist #811570. Published by DanJonesGuitarist (A0.1214983). Sweet Caroline - by Neil DiamondArranged for Guitar Quartet (with Optional Bass Guitar) by Dan Joneswww.danjonesguitarist.comThis arrangement is designed for advanced-intermediate ensembles, but could also be used by professional groups seeking something original and popular for repertoire or encore works.Your download provides you with:�    A score showing notes and TAB�    A score with only notes (to facilitate page turns)�    All parts in notes only�    All parts in notes and TAB�    A bass guitar part is provided, but the arrangement will work effectively with or without this part.Sweet Caroline was released as a single by Neil Diamond in 1969. It enjoyed immediate chart success in the US, and further success in the UK in 1971. In recent years, it has had a resurgence in popularity, as it has been sung by supporters at sporting events due to its epic, stadium-rock quality. It is therefore much-known and loved by audiences of all generations.This arrangement is designed for advanced-intermediate ensembles, but could also be used by professional groups seeking something original and popular for repertoire or encore works.Your download provides you with:�    A score showing notes and TAB�    A score with only notes (to facilitate page turns)�    All parts in notes only�    All parts in notes and TAB�    A bass guitar part is provided, but the arrangement will work effectively with or without this part.For a wealth of arrangements for guitar in ensemble or solo, writings, original works, teaching material, compositions and much more, please visit www.danjonesguitarist.com

Concert Band - Level 4 - Digital Download SKU: A0.1152172 Composed by John Philip Sousa. Arranged by Wesley Besancon. 20th Century,March. Score and Parts. 62 pages. Wesley Besancon #752386. Published by Wesley Besancon (A0.1152172). Throughout Sousa’s career as a conductor, he often altered the performance of his marches without marking or changing the printed music. These alterations were designed for concert performances and included varying dynamics and omitting certain instruments on repeated strains to expand the range of the musical textures, as well as adding unscripted percussion accents for dramatic emphasis at key points in the music. Although Sousa never documented his performance techniques himself, several players who worked extensively with Sousa provided directions for his frequently performed marches, most notably cornetist Frank Simon. Sousa continued to conduct many of his earlier marches later in his career with these unique alterations, but he rarely returned to several of the marches composed between 1873 and 1880. Although no written confirmation exists for how Sousa might have performed these earliest compositions, select elements of his typical performance practices can also be applied to these marches. “Our Flirtation� is the earliest march for which Simon documented Sousa’s common adjustments in performance. The Complete Marches of John Philip Sousa appears in chronological order and is based on some of the earliest known sources for each composition. These newly edited full scores correct many mistakes and inconsistencies found in the parts of early publications; however, all remaining markings and the original scoring are preserved. Additionally, the alterations traditionally employed by the United States Marine Band in performance are incorporated throughout; either those specifically documented by Sousa’s musicians or changes modeled on the customary practices of “The March King.� Performance practices that deviate from the original printed indications are described below and appear in [brackets] in the score. In many instances these indications appear side-by-side with the original markings. An open diamond marked with an accent in the cymbal part indicates that the cymbal player should let that accent ring for an additional beat before rejoining the bass drum part. Second strain (m. 21-38): The dynamic should drop to piano first time through with piccolo, E-flat clarinet, cornets/trumpets, and trombones tacet first time. Additionally, all clarinets should play down one octave as indicated by the cued notes. All instruments rejoin fortissimo and at the original octave in the first ending. A percussion accent may be added in m. 29 the second time. The printed percussion figure in the first ending continues the previous pattern, yet muddies the pick-ups to the second strain and may be omitted for just that one bar as indicated after the downbeat. Trio (m. 39-54): Piccolo and cornets/trumpets are tacet once more as well as cymbals, but trombones have an interesting part in the texture and may continue to play softly here. All instruments rejoin for the fortissimo pick up notes in m. 54. Interlude/Break-up strain (m. 55-70): A percussion accent may be added on beat two in m. 62 and 70, both times, to match the accented chords in the rest of the band. Final strain (m. 71-end): The first time through this strain is piano once more and piccolo, cornets/trumpets, trombones, and cymbals are tacet again. First and second B-flat clarinets should also play one octave lower as indicated by the cued notes. All instruments rejoin in the first ending for the repeat of the break-up strain and play fortissimo to the end.

Piano Instrumental Duet, Piano, Soprano Saxophone, Tenor Saxophone - Level 4 - Digital Download By Stevie Wonder. By Stevie Wonder. Arranged by Fishel Pustilnik. Pop, Soul. Score and parts. 7 pages. F & N Enterprise #5799999. Published by F & N Enterprise

Full Orchestra - Level 5 - Digital Download SKU: A0.730464 Composed by James Nathaniel Holland. Contemporary,Holiday,Patriotic. Score and parts. 80 pages. James Nathaniel Holland #3629797. Published by James Nathaniel Holland (A0.730464). (Duration: 25 minutes) Full Orchestral Score Only in Concert Pitch.James Nathaniel Holland is an American classical music composer of operas, symphonies, ballets, songs, and other musical concertworks that incorporate a unique, eclectic, blend of romantic, classical, world and jazz styles. In this second of his piano concerto, he blends jazz with sensitivity, rhythmic to lyrical. This concerto is entitled New York Tour because like the city that inspired it, it travels throughout times, musical neighborhoods and cultures.  Great compliment in programming with Mozart piano concertos or Gershwin's Rhapsody in Blue to feature American classical composers or for the Fourth of July summer concert.  YouTube presentation: https://www.youtube.com/watch?v=eAKDrGPLa3g Instrumentation: picc, fl., ob.12, clBb 12, Bsn12, Hrn 123, Tpt 12, Trmb. 12, Tba, Timp, Perc (glock, bass drum, small gong, s. cym w/mall and stl., slapstick, tri., hh) Piano solo, strings.Born and raised in Indiana, James Nathaniel Holland studied music at DePauw University, Vienna Austria, Interlochen National Music Camp and Indiana University (Bloomington, IN). At these schools many of his early pieces were premiered and performed, with one work being selected for main-stage production in the season. Moving to Los Angeles and then settling in New York, he performed professionally sometimes as a singer, sometimes as a pianist, sometimes as choral conductor. He composed incidental music for the stage. In 2002 he founded a composers collective where they showcased their work. He was one of the first composers to participate in the American Music Center's initial on-line library. The New Jersey Concert Opera and the Gay Men's Chorus of New Jersey also featured his comic operas and art songs. From 2005 he moved to Costa Rica where he organized concerts with visiting guest artists to present his chamber music to the public. Presently he lives in a castle in the central mountains of Costa Rica. Website: http://www.lacoronadelossantos.net/jamesnathanielholland.html YouTube Channel: https://www.youtube.com/user/composerjnholland

Rhythm Section SATB Chorus divisi,Voice - Level 5 - Digital Download SKU: A0.1488643 By Joni Mitchell. By Joni Mitchell. Arranged by Kerry Marsh. Folk,Jazz,Pop. Vocal Jazz Ensemble. 52 pages. Kerry Marsh #1065491. Published by Kerry Marsh (A0.1488643). This arrangement, sold at SheetMusicPlus.com and SheetMusicDirect.com at a lower price than the standard flat-fee range for vocal jazz ensemble arrangements ($75), does NOT come with a demo recording or any rehearsal audio aids. Visit KerryMarsh.com and purchase the “All Tracks Pack (With SkyTracks Mixer)“ package and receive access to: 1. Arrangement Demo, 2. SkyTracks Mixer access, 3. Vocal Part Tracks, 4. Minus-One Tracks, 5. Rhythm Track, 6. Recording Stems (for those who wish to use their own Digital Audio Workstation).This arrangement of Joni Mitchell's Big Yellow Taxi is propelled by a driving groove, making it a perfect opener or closer for your program. It features fresh reharmonization while retaining many hints of the memorable aspects of Mitchell's original recording, capturing its essence while adding a modern twist.Originally released in 1970 on her album *Ladies of the Canyon*, Big Yellow Taxi is known for its catchy melody and poignant lyrics that lament environmental destruction and urban development. The song's playful yet impactful tone has made it a lasting classic, covered by numerous artists over the years.In this arrangement, a soli section challenges groups and offers directors the opportunity to teach advanced rhythmic and harmonic concepts, providing exciting and energetic musical treats for audiences. The chart is well worth the time spent preparing, especially with the help of our audio learning materials. This memorable and impactful arrangement will be a standout piece in your program, leaving a lasting impression on your audience.

Clarinet Quartet,Woodwind Ensemble - Level 5 - Digital Download SKU: A0.1184712 Composed by Alan Bullard. 20th Century,Chamber,Contemporary. 48 pages. Colne Edition / BullardMusic #784397. Published by Colne Edition / BullardMusic (A0.1184712). Overtones is a single-movement virtuoso work that exploits the contrast between the different registers of the clarinet and their associated timbres.The basic material uses a scale derived from the clarinet’s characteristic overtones (or harmonic series), and is displayed at the opening of the work in the form of a toccata-like passage followed by a more relaxed section in which a solo line is echoed by the other clarinets.  These two groups of ideas are then subjected to a variety of developments and juxtapositions, culminating in a dissonant climax of note-clusters, followed by a shortened and varied repetition of the opening sections (but without the toccata-like characteristics) climbing up the overtone series and disintegrating into nothingness.The pdf contains the score and the four instrumental parts.www.alanbullard.co.uk.

Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1189782 Composed by Panagiotis Theodossiou. 20th Century,Chamber,Classical,Contemporary. Score. 13 pages. Panagiotis Theodossiou #786382. Published by Panagiotis Theodossiou (A0.1189782). Epochiko for alto voice and piano, op.92 is a setting of, under the same name, poem by the Greek poet Pavlos Fournogerakis. The prosody and conceptual identity of the text stand as the base for the melodic, harmonic, and rhythmic development in a composition process that follows a mix of tonal and atonal elements.The work was performed by Ioanna Vrakatseli (alto) and Myrto Akrivou (piano) at Athens Concert Hall, Greece on November 2022.

Brass Ensemble - Digital Download SKU: A0.808693 Composed by Edward White. Arranged by F. Leslie Smith. Contemporary. Score and parts. 39 pages. Sweetwater Brass Press #4760441. Published by Sweetwater Brass Press (A0.808693).     On a visit to the Isle of Wight, British composer Edward George White came across an ancient steam locomotive bearing the sobriquet Puffing Billy. Inspired, White wrote the similarly titled Puffin’ Billy in 1952. The tune was recorded by a group labeled Melodi Light Orchestra and was included in the Chappell Recorded Music Library, a collection of tunes that could be used as incidental music in various types of productions. Both British and U.S. producers made use of the library; two stand out. One was BBC’s Children’s Favourites, which adopted Puffin’ Billy as theme music in 1952 and continued its use for 14 years. The second was Captain Kangaroo, a new 8 a.m. weekday children’s program launched by CBS-TV in October 1955 starring Bob Keeshan as the title character. Each episode opened and closed with Puffin’ Billy and would do so until 1974, making it White’s most recognizable composition.       This brass quintet version follows the 1952 Melodi Light Orchestra recording pretty closely. It retains the key signatures of the original-G to B-flat, then back to G-and the tempo (cut time; half note = 112). Trumpets’ highest note is their A above the staff; trombone has one F above the staff. Tuba’s very last note is G below the staff. The rest is pretty much within normal playing range. Trumpets get somewhat of a workout with chromatic runs in sections E and F. Most will find this an easy piece to play.   This arrangement was completed in 2019, and performance time runs about 2 minutes, 54 seconds. The arranger, Les Smith, will be happy to provide substitute parts (e.g., treble clef baritone for trombone) at no charge; contact him directly at lessmith61@bellsouth.net. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the SheetMusicPlus search box. (Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt directly to him at lessmith61@bellsouth.net.)

String Orchestra - Level 5 - Digital Download SKU: A0.942953 Composed by Geoffrey Peterson. Contemporary. Score and parts. 43 pages. Geoffrey Peterson #4267231. Published by Geoffrey Peterson (A0.942953). Link to complete recording: https://soundcloud.com/geoffrey-peterson/sets/the-edmund-fitzgerald-concerto On November 9th, 1975, the S.S. Edmund Fitzgerald left port in Superior, Wisconsin. The 729-foot-long iron ore carrier, loaded with 26 thousand tons of taconite pellets for the auto industry, was bound for Detroit. Earlier that day, the weather service had issued a gale warning. This was not unusual, considering that gale storms are typical during November on Lake Superior. The Fitzgerald’s Captain, Ernest McSorley, and her 29-member crew headed northeast unaware of the maelstrom they would soon encounter. At around 2 a.m., Bernie Cooper, captain of the Arthur M. Andersen, another freighter which was following a few miles behind the Fitzgerald, radioed Captain McSorley to consult with him about the worsening storm. They had both decided to take a more northerly route along the Canadian shore, which they hoped would provide some shelter from the violent gale winds and waves. The Fitzgerald’s long-range radar stopped working the following day and was needed in order to avoid Six-Fathom Shoal, a shallow area of Lake Superior that could rupture the ship’s hull. McSorley soon radioed the Anderson to report that the Fitzgerald had sustained some topside damage...a fence rail down, two vents lost or damaged, and a starboard list. A list meant that the Fitzgerald was taking on too much water and was causing it to lean to one side. The short-range radar also stopped working, and the radio direction beacon from nearby Whitefish Point vanished. This would make it impossible for the Fitzgerald to reach the lee waters of Whitefish Bay and escape the 80 mph winds churning 20 to 30-foot waves. At 7:10 p.m. that night, First Mate Morgan Clark of the Andersen radioed the Fitzgerald to see how they were doing. Captain McSorley replied, We’re holding our own. This was the last contact anyone would have with the Fitzgerald. Shortly thereafter, the Edmund Fitzgerald disappeared from the Anderson’s radar screen. All 29 of her crew were lost on November 10th, 1975. The Edmund Fitzgerald chronicles the tragic final voyage of the well-known shipwreck in 4 movements; Embarkment, The Gales, Six-Fathom Shoal (We’re holding our own.) and Entombment-Dirge. The concerto makes use of several musical quotes. The first is Spanish Ladies, an English sea chantey, which appears in both the 1st and 3rd movements. The second is the funeral march theme from the 2nd movement of Beethoven’s 3rd Symphony which is heard in the 4th movement of the concerto. In addition, a chime is rung 29 times during the final bars of the concerto to memorialize the men who lost their lives. The Crew of the S.S. Edmund Fitzgerald: Michael E. Armagost, Frederick J. Beetcher, Thomas D. Bentsen, Edward F. Bindon, Thomas D. Borgeson, Oliver J. Champeau, Nolan S. Church, Ransom E. Cundy, Thomas E. Edwards, Russell G. Haskell, George J. Holl, Bruce L. Hudson, Allen G. Kalmon, Gordon F. MacLellan, Joseph W. Mazes, John H. McCarthy, Ernest M. McSorley, Eugene W. O'Brien, Karl A. Peckol, John J. Poviach, James A. Pratt, Robert C. Rafferty, Paul M. Riippa, John D. Simmons, William J. Spengler, Mark A. Thomas, Ralph G. Walton, David E. Weiss, Blaine H. Wilhelm.

Cello,Piano - Level 3 - Digital Download SKU: A0.1238732 By Various. By Michael Kamen. Arranged by John Fries. 20th Century,Film/TV,Standards. Score and part. 2 pages. John Fries #834174. Published by John Fries (A0.1238732). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns. Thanks, John.  Band of Brothers is a 2001 American war drama miniseries based on historian Stephen E. Ambrose's 1993 non-fiction book of the same name. The theme music was composed by the late Michael Kamen, known for his scores for titles such as the Die Hard films, X-Men, Memento as well as several HBO series. He had also collaborated previously with Tom Hanks, who produced the score for Band of Brothers. The bold, evocative soundtrack to the series was very well received, with critics calling it Kamen's best work to date.