Organ 2-staff - Moderately easy - Digital Download Composed by Various. Sacred, Advent, Christmas, Epiphany, General, Communion, Thanksgiving. Organ. 96 pages. Lorenz Publishing Company #70/1734L. Published by Lorenz Publishing Company

Organ 2-staff - Moderately easy - Digital Download Composed by Various. Advent, Christmas, Epiphany, General, Communion, Thanksgiving. 96 pages. Lorenz Publishing Company #70/1759L. Published by Lorenz Publishing Company

Choral Choir (SAB) - Level 3 - Digital Download

SKU: A0.1030299

Composed by Traditional Melody. Arranged by César del Caño. 20th Century,A Cappella,Classical. Octavo. 5 pages. Cesar del Cano #6358089. Published by Cesar del Cano (A0.1030299).

·

· Polyphonic a cappella work for three mixed voices (S, A, T/B) with divisi.

· Approximate duration: 2:30

· Pages (5): Cover (1), Score (2, 3, 4), Lyrics (5). Original lyrics (in Galician Languaje), translation (Spanish & English) and other details. This last page also contains various links which can be accessed from the pdf edition.

· A video-score from YouTube is attached.

·

[ENG]

Camiña Don Sancho is a so-called border romancillo, from Galicia (Spain), popularized in the 14th century through minstrels, and which constitute poetic documents of the history and intrahistory of two opposing communities (Christian and Muslim). It talks about more or less true facts and famous historical figures belonging to the common history of León and Galicia (former independent kingdoms, currently Spanish autonomous communities).

In it, once again, the figure of King Don Sancho appears linked to the myth of the young captive in the Iberian peninsular Muslim territory, and whom he is preparing to liberate. The original melody is built in the Phrygian mode, one of the medieval musical modes, on which this polyphonic version is also made, finally taking it to the point of the so-called gypsy and Arabic scales; hence its title: Frixia (in Galician languaje)

[ESP]

Camiña Don Sancho es un romancillo de los llamados fronterizos, popularizados en el S. XIV a través de los juglares, y que constituyen documentos poéticos de la historia e intrahistoria de dos comunidades enfrentadas (la cristiana y la musulmana). Habla de hechos más o menos verídicos y de personajes pertenecientes a la historia común de León y Galicia.

En él, una vez más, aparece la figura del Rey Don Sancho ligada al mito de la joven cautiva en el territorio musulmán peninsular, y a quien él se dispone a liberar.

La melodía original está construida en modo frigio, uno de los modos musicales medievales, sobre el que está realizada también esta versión polifónica, llevándola finalmente al punto de las llamadas escalas gitana y arábiga; de ahí su título.

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Composer data:

Website: https://www.cesardelcano.com

Facebook: https://www.facebook.com/cesardelcano.esp

YouTube: https://www.youtube.com/playlist?list=PLr9iLxVNyr-9eBzCd-zlZE_Iyxavn_WhT

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Guitar - Advanced - Digital Download

SKU: ZZ.DZ-4287

Composed by Francisco Braga. Arranged by Luciano Lima. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4287. Published by Les Productions d'OZ - Digital (ZZ.DZ-4287).

ISBN 9782898522048.

Antônio Francisco Braga (1868-1945) belongs to the generation of Brazilian composers of the first republican period, aesthetically tied to romanticism, alongside Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914), and Barrozo Neto (1881-1941). Born in Rio de Janeiro, on April 15th, 1868, he began his musical studies at the Asilo dos Meninos Desvalidos, in 1876. In 1883, he enrolled at the Imperial Conservatório de Música where he studied harmony and counterpoint with Carlos de Mesquita – a former student of César Franck, Durand, and Massenet – and clarinet with Antônio Luís de Moura. Braga's first compositions date from this period: Sonho de Dante (1885), Dolce far niente (1886), the first Valse Romantique for piano (1886), among others.
In 1887, he premiered his first symphonic work, Fantasia-Abertura. In 1890, being one of the finalists in a competition to choose the new Brazilian national anthem, Braga was awarded a scholarship to study in Europe, where he took classes with Jules Massenet at the Paris Conservatory. During this period, he wrote some of his most important symphonic works, Paysage, Cauchemar, Episódio Sinfônico, and Marabá (which was performed by Richard Strauss and the Vienna Philharmonic in 1920, in Brazil). His opera Jupyra is considered one of the greatest Brazilian compositions of that genre.
Back in Brazil, he was appointed professor of counterpoint, fugue, and composition at the Instituto Nacional de Música, in 1902. There, some of the finest Brazilian composers studied with him, like Glauco Velásquez and Lorenzo Fernândez.
Braga wrote operas, symphonic works, songs, sacred music, two Masses, music for piano, different chamber formations, band, and choir. He is the author of many patriotic hymns, the most popular of which is Hino à Bandeira (with lyrics by Olavo Bilac). He explored Brazilian nationalist elements in some of his works, as in Variações sobre um Tema Brasileiro and in the Trio for violin, cello and piano, whose third movement is based on a lundu (a musical genre and dance of Afro-Brazilian origin).
In addition to being a composer, Braga was one of the most active conductors of his time, having been ahead of three orchestras in Rio de Janeiro: Instituto Nacional de Música, Sociedade de Concertos Sinfônicos, and Theatro Municipal. Braga conducted the Brazilian premiere of major symphonic works such as La Mer (Debussy), Pacific 231 (Honegger) besides other numerous Brazilian compositions.
In 1938, he retired from Instituto Nacional de Música. He passed away on March 14th, 1945, in Rio de Janeiro.
Unfortunately, Francisco Braga never wrote for the guitar. However, over a century ago his music had already been incorporated to its repertoire. According to information found in newspapers of the time, Spanish guitarist Josefina Robledo included transcriptions of pieces by Braga in her programs when she performed in Brazil: Gavota e Minuete (from the melodrama Contratador de Diamantes), in 1919, in São Paulo, and the waltz-caprice Corrupio, in 1921, in Rio de Janeiro.
The piano score of Madrigal Pavane was dedicated to Alexina Leitão and published by Casa Vieira Machado, in 1901. According to the composer’s catalogue, there are two other versions of this piece: strings orchestra (1901) and quartet (which is still in manuscript). Dedicated to Braga’s childhood friend José de Souza Rocha, Timburibá (the name of a Brazilian tree) is a tango for piano from 1886, published by Narciso & Arthur Napoleão.

Antônio Francisco Braga (1868-1945) appartient à la génération des compositeurs brésiliens de la première période républicaine, esthétiquement liés au romantisme, aux côtés de Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914) , et Barrozo Neto (1881-1941). Né à Rio de Janeiro, le 15 avril 1868, il commence ses études musicales à l'Asilo dos Meninos Desvalidos, en 1876. En 1883, il s'inscrit au Imperial Conservatório de Música où il étudie l'harmonie et le contrepoint avec Carlos de Mesquita – ancien élève de César Franck, Durand et Massenet – et clarinette avec Antônio Luís de Moura. De cette période datent les premières compositions de Braga : « Sonho de Dante » (1885), « Dolce far niente » (1886), la première « Valse Romantique » pour piano (1886), entre autres.
En 1887, il crée sa première œuvre symphonique, « Fantasia-Abertura ». En 1890, étant l'un des finalistes d'un concours pour choisir le nouvel hymne national brésilien, Braga obtient une bourse pour étudier en Europe, où il suit les cours de Jules Massenet au Conservatoire de Paris. Durant cette période, il écrit certaines de ses œuvres symphoniques les plus importantes, « Paysage », « Cauchemar », « Episódio Sinfônico » et « Marabá » (interprétée par Richard Strauss et la Philharmonie de Vienne en 1920, au Brésil). Son opéra « Jupyra » est considéré comme l'une des plus grandes compositions brésiliennes de ce genre.
De retour au Brésil, il fut nommé professeur de contrepoint, de fugue et de composition à l'Instituto Nacional de Música, en 1902. Là, certains des meilleurs compositeurs brésiliens étudièrent avec lui, comme Glauco Velásquez et Lorenzo Fernândez.
Braga a écrit des opéras, des œuvres symphoniques, des chansons, de la musique sacrée, deux messes, de la musique pour piano, différentes formations de chambre, un orchestre et une chorale. Il est l'auteur de nombreux hymnes patriotiques, dont le plus populaire est « Hino à Bandeira » (avec des paroles d'Olavo Bilac). Il a exploré des éléments nationalistes brésiliens dans certaines de ses œuvres, comme dans « Variações sobre um Tema Brasileiro » et dans le Trio pour violon, violoncelle et piano, dont le troisième mouvement est basé sur un « lundu » (un genre musical et une danse afro-américaine). Origine brésilienne).
En plus d'être compositeur, Braga a été l'un des chefs d'orchestre les plus actifs de son époque, ayant dirigé trois orchestres à Rio de Janeiro : « Instituto Nacional de Música », « Sociedade de Concertos Sinfônicos » et « Theatro Municipal ». Braga a dirigé la première brésilienne d'œuvres symphoniques majeures telles que « La Mer » (Debussy), « Pacific 231 » (Honegger) ainsi que de nombreuses autres compositions brésiliennes.
En 1938, il prend sa retraite de l'Instituto Nacional de Música. Il est décédé le 14 mars 1945 à Rio de Janeiro.
Malheureusement, Francisco Braga n’a jamais écrit pour la guitare. Cependant, il y a plus d'un siècle, sa musique était déjà incorporée à son répertoire. Selon des informations trouvées dans les journaux de l'époque, la guitariste espagnole Josefina Robledo incluait des transcriptions de pièces de Braga dans ses programmes lorsqu'elle se produisait au Brésil : « Gavota e Minuete » (du mélodrame « Contratador de Diamantes »), en 1919, à São Paulo, et la valse-caprice « Corrupio », en 1921, à Rio de Janeiro.
La partition pour piano de « Madrigal Pavane » a été dédiée à Alexina Leitão et publiée par « Casa Vieira Machado », en 1901. Selon le catalogue du compositeur, il existe deux autres versions de cette pièce : orchestre à cordes (1901) et quatuor (qui est encore manuscrit). Dédié à José de Souza Rocha, ami d'enfance de Braga, « Timburibá » (nom d'un arbre brésilien) est un tango pour piano de 1886, publié par « Narciso & Arthur Napoleão ».
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SATB choir - Moderately easy - Digital Download

SKU: LX.45-1057U

A Choral Companion For Advent. Edited by Mark T. Barnard. Choral Collection. Advent, Palm/Palm-Passion Sunday. 44 pages. Unity Music Press #e45/1057U. Published by Unity Music Press (LX.45-1057U).

UPC: 000308048940.

Say He Will Come is an outstanding collection of popular Advent anthems that choirs love to sing and sound great singing. From the gently-expressive to the textually-provoking to the rousing and uplifting, this compilation provides a variety of easy-to-learn repertoire that will enhance your community's worship during Advent. A few of the titles also make appropriate selections outside of Advent and the recommended use is indicated.

Piano Solo, Piano - Digital Download By The Beatles. By John Lennon and Paul McCartney. Arranged by Claudio Lanz and World Piano Bar. Pop. Score. 2 pages. Published by World Piano Ba

Concert Band - Level 4 - Digital Download

SKU: A0.533052

Composed by Germaine Tailleferre. Arranged by Paul Wehage. 20th Century,Contemporary,Instructional. Score and parts. 17 pages. Musik Fabrik Music Publishing #432815. Published by Musik Fabrik Music Publishing (A0.533052).

In the late 1990s, a score was found in Germaine Tailleferre’s papers with the title page “Choral et Fugue pour orchestre d’harmonie� and a dedication “à L'Harmonie Municipale de Lyon�. The pages which followed contained the score of “Choral� for organ with optional brass and “Fugue� for orchestra. When the late composer Desiré Dondeyne was consulted concerning this score, he confirmed that this work had been projected, but refused to say anything further on the subject. Research was undertaken to try to locate a scale in the municipal archives of the City of Lyons (as the Municipal Band no longer exists) but proved to be unsucessful. It is unclear whether or not Tailleferre intended to undertake this work herself or if she intended to entrust it (as she often did) to Dondeyne. In any case, it would appear that the concert band version for this work was probably never completed. Paul Wehage, a longtime scholar of the works of Tailleferre, has undertaken the orchestration of this work The Fugue movement remains close to Tailleferre’s original version for orchestra. The choral section is entirely rescored. Instrumentation : Piccolo Flute I and II Oboe I and II English Horn Bassoon 1 and II Eb clarinet Bb clarinet I, II and III Alto Clarinet Bass Clarinet Alto Saxophone I and II Tenor Saxophone Baritone Saxophone Bb Cornet I, II and III Bb trumpet I and II F Horn I-IV Trombone I, II and III Baritone Tuba Timpani Percussion 1: snare drum Percussion II: bass drum Percussion III: triangle, two cymbals, xylophone, suspended cymbal duration ca. 7:00 This set contains the full score. The woodwind parts and the brass and percussion parts are available in two seperate sets. The individual parts are also available as separate items.

Concert Band - Level 4 - Digital Download

SKU: A0.533050

Composed by Germaine Tailleferre. Arranged by Paul Wehage. 20th Century,Contemporary,Instructional. Score and parts. 84 pages. Musik Fabrik Music Publishing #432811. Published by Musik Fabrik Music Publishing (A0.533050).

In the late 1990s, a score was found in Germaine Tailleferre’s papers with the title page “Choral et Fugue pour orchestre d’harmonie� and a dedication “à L'Harmonie Municipale de Lyon�. The pages which followed contained the score of “Choral� for organ with optional brass and “Fugue� for orchestra. When the late composer Desiré Dondeyne was consulted concerning this score, he confirmed that this work had been projected, but refused to say anything further on the subject. Research was undertaken to try to locate a scale in the municipal archives of the City of Lyons (as the Municipal Band no longer exists) but proved to be unsucessful. It is unclear whether or not Tailleferre intended to undertake this work herself or if she intended to entrust it (as she often did) to Dondeyne. In any case, it would appear that the concert band version for this work was probably never completed. Paul Wehage, a longtime scholar of the works of Tailleferre, has undertaken the orchestration of this work The Fugue movement remains close to Tailleferre’s original version for orchestra. The choral section is entirely rescored. Instrumentation : Piccolo Flute I and II Oboe I and II English Horn Bassoon 1 and II Eb clarinet Bb clarinet I, II and III Alto Clarinet Bass Clarinet Alto Saxophone I and II Tenor Saxophone Baritone Saxophone Bb Cornet I, II and III Bb trumpet I and II F Horn I-IV Trombone I, II and III Baritone Tuba Timpani Percussion 1: snare drum Percussion II: bass drum Percussion III: triangle, two cymbals, xylophone, suspended cymbal duration ca. 7:00 This set contains the complete woodwind parts. The full score and the brass and percussion parts are available in two seperate sets. The individual parts are also available as separate items.

Concert Band - Level 4 - Digital Download

SKU: A0.533051

Composed by Germaine Tailleferre. Arranged by Paul Wehage. 20th Century,Contemporary,Instructional. Score and parts. 72 pages. Musik Fabrik Music Publishing #432813. Published by Musik Fabrik Music Publishing (A0.533051).

In the late 1990s, a score was found in Germaine Tailleferre’s papers with the title page “Choral et Fugue pour orchestre d’harmonie� and a dedication “à L'Harmonie Municipale de Lyon�. The pages which followed contained the score of “Choral� for organ with optional brass and “Fugue� for orchestra. When the late composer Desiré Dondeyne was consulted concerning this score, he confirmed that this work had been projected, but refused to say anything further on the subject. Research was undertaken to try to locate a scale in the municipal archives of the City of Lyons (as the Municipal Band no longer exists) but proved to be unsucessful. It is unclear whether or not Tailleferre intended to undertake this work herself or if she intended to entrust it (as she often did) to Dondeyne. In any case, it would appear that the concert band version for this work was probably never completed. Paul Wehage, a longtime scholar of the works of Tailleferre, has undertaken the orchestration of this work The Fugue movement remains close to Tailleferre’s original version for orchestra. The choral section is entirely rescored. Instrumentation : Piccolo Flute I and II Oboe I and II English Horn Bassoon 1 and II Eb clarinet Bb clarinet I, II and III Alto Clarinet Bass Clarinet Alto Saxophone I and II Tenor Saxophone Baritone Saxophone Bb Cornet I, II and III Bb trumpet I and II F Horn I-IV Trombone I, II and III Baritone Tuba Timpani Percussion 1: snare drum Percussion II: bass drum Percussion III: triangle, two cymbals, xylophone, suspended cymbal duration ca. 7:00 This set contains the complete brass and percussion parts. The full score and the woodwind parts are available in two seperate sets. The individual parts are also available as separate items.

Clarinet - Digital Download

SKU: IZ.9780976508106

Composed by Phillip Paglialonga. Score. 111 pages. Imagine Music - Digital #9780976508106. Published by Imagine Music - Digital (IZ.9780976508106).

9 x 12 in inches.

Squeak Big teaches aspiring clarinetists the fundamentals necessary for success on the instrument through conceptual development and practical exercises. It will undoubtedly become an important resource for aspiring clarinetists and educators worldwide.


For years, Dr. Paglialonga has helped his students improve by creating exercises and explanations to address fundamental playing issues. These materials circulated throughout the clarinet community, leading to numerous requests for materials to address other specific problems. Squeak Big answers those requests, making these materials available to a wider audience in a simple, easy-to-use format.

Squeak Big is filled with healthy, concise, no-nonsense advice, as well as some great tips and tricks. I would recommend it to anyone wanting to advance their relationship with the clarinet. (Samuel Caviezel - Associate Principal Clarinet, Philadelphia Orchestra)

Squeak Big is a wonderful resource for student and teacher alike. In it, Dr. Paglialonga provides helpful insights on clarinet playing from the fundamentals of producing a beautiful sound to hints on practicing in real life situations. His methodical approach helps to demystify clarinet playing and is geared towards helping improve both technique and musicianship. A must-have for any clarinetist's library! (Benjamin Lulich - Principal Clarinet, Cleveland Orchestra)

Squeak Big is full of useful information. I highly recommend it to anyone who's looking for practical ways to become a better clarinetist! (Alexander Fiterstein - Prominent International Soloist)

I would recommend Squeak Big to anyone wanting to improve or better understand the fundamentals of sound clarinet playing. (Carey Bell - Principal Clarinet, San Francisco Symphony)

Phillip Paglialonga has written a thoughtful and detailed treatise on playing the clarinet. He communicates from a thorough knowledge of the instrument and its workings. This volume is a valuable reference for teachers and performers alike, replete with numerous practical suggestions and exercises. If only every clarinet player could digest the information Dr. Paglialonga sets forth herein, good solid foundations would be formed and bad habits easily prevented. (John Bruce Yeh - Assistant Principal Clarinet, Chicago Symphony)

Squeak Big provides valuable advice for players at every stage of development, with easy practical methods, useful exercises, and even a bit of historical context. I've already been able to incorporate many of these ideas, not only into my teaching, but also into my own playing! (Ralph Skiano - Principal Clarinet, Detroit Symphony)

Squeak Big is excellent and I'm sure it will be of great value to many players. Phillip Paglialonga explains so many of the fundamentals in a very clear, concise way. Bravo! (Larry Guy - Prominent Pedagogue).

Guitar - Level 1 - Digital Download

SKU: A0.1493187

Composed by Antonio Augusto Da Silva Fagundes and Euclides Fagundes Filho. Arranged by Marcelo Borba. Country,Folk,Multicultural,Standards,Traditional,World. Chords/Lyrics. 3 pages. Marcelo Borba #1069849. Published by Marcelo Borba (A0.1493187).

Leadsheet style - chords and tablature

Canto Alegretense é uma das canções mais emblemáticas da música tradicionalista gaúcha, muito conhecida e apreciada no Rio Grande do Sul e entre comunidades gaúchas no Brasil e no exterior. Ela foi composta em 1983 por Nico Fagundes (letra) e Bagre Fagundes (melodia), dois irmãos que são figuras importantes na cultura e na música regional do sul do Brasil.

### Contexto e Significado

A canção é uma celebração da cidade de Alegrete, localizada na fronteira oeste do Rio Grande do Sul, e da identidade cultural dos gaúchos. A letra expressa o orgulho pela terra, pela história e pelas tradições do povo do sul, evocando imagens da paisagem pampiana e dos costumes locais.

### Letra

A letra de Canto Alegretense é carregada de simbolismo e sentimento. Ela começa com uma saudação ao Alegrete, descrevendo a cidade como um lugar acolhedor e de grande significado para aqueles que têm raízes na região. Ao longo da canção, são mencionados elementos da cultura gaúcha, como o poncho, o mate e a bombaixa, além de referências ao céu e à terra, que têm um profundo significado no imaginário coletivo dos gaúchos.

### Impacto Cultural

Desde seu lançamento, Canto Alegretense tornou-se um hino extraoficial do Rio Grande do Sul e é frequentemente interpretada em festivais, rodeios, e eventos culturais do estado. A música tem um forte apelo emocional e é vista como um símbolo da resistência cultural e da preservação das tradições gaúchas.

Essa canção, com sua melodia marcante e letra poética, continua a ser uma das mais queridas e representativas da música regional do Rio Grande do Sul.
****
Canto Alegretense is one of the most emblematic songs of traditional Gaúcho music, widely known and appreciated in Rio Grande do Sul and among Gaúcho communities in Brazil and abroad. It was composed in 1983 by Nico Fagundes (lyrics) and Bagre Fagundes (melody), two brothers who are important figures in the culture and music of southern Brazil.

### Context and Meaning

The song is a celebration of the city of Alegrete, located in the western border of Rio Grande do Sul, and the cultural identity of the Gaúchos. The lyrics express pride in the land, history, and traditions of the southern people, evoking images of the pampas landscape and local customs.

### Lyrics

The lyrics of Canto Alegretense are rich in symbolism and emotion. It begins with a salute to Alegrete, describing the city as a welcoming place of great significance for those with roots in the region. Throughout the song, elements of Gaúcho culture are mentioned, such as the poncho, mate, and bombaixa, as well as references to the sky and the land, which hold deep meaning in the collective imagination of the Gaúchos.

### Cultural Impact

Since its release, Canto Alegretense has become an unofficial anthem of Rio Grande do Sul and is often performed at festivals, rodeos, and cultural events across the state. The song has a strong emotional appeal and is seen as a symbol of cultural resistance and the preservation of Gaúcho traditions.

With its striking melody and poetic lyrics, this song remains one of the most beloved and representative pieces of regional music in Rio Grande do Sul.

Concert Band - Level 3 - Digital Download

SKU: A0.1027334

Composed by Jeremy Goh, Daniel Cheng. Contemporary. Score and parts. 23 pages. Jeremy Goh #12123. Published by Jeremy Goh (A0.1027334).

We present a work composed as a tongue-in-cheek expression of a popular street tune heard today, put through a series of 5 variations that explore different styles. It works in both a satirical as well as sophisticated manner vertically and horizontally, and uses multiple cliches that will get the audience perking up in recognition. The theme, 贺新年, is a common tune sung in Chinese New Year celebrations. In the heart of celebrating the New Year, this piece is written playable by musicians of all ages, whether in schools or as community orchestras and bands, to come together by the common celebratory notion in a work for an extended orchestra, including the saxophone and euphonium. Written by Daniel Cheng and Jeremy Goh, we hope that this season this piece can bring both laughter and reverence to the street tune, blown out of proportion in style and size. Starting the work is an atonal entry, built on tone rows and planing, legacies of Shoenberg and his contemporaries, before decomposing into an exceedingly lively statement of the theme. This is then juxtaposed beside a trip to tribal communities with interlocking rhythms and a modal distortion of the melody. From the modal mess and deviation from diatonicism, we then return to the prim and proper style of Mozart and Haydn in a short Classical variation. As if to mock its neat stature, this then is shattered with a juxtaposition beside a variation in the style of Shostakovich, modelled after the controversial Leningrad symphony, which draws on a different dimension of the theme, its banality, and propagating and emulsifying it to terrifying levels as it is distorted. Finally, a schreckenfanfare is directed marking an entry into a tribute to one of the greatest legends in music composition, with Beethoven along with its transcendental qualities of cyclism, and use of learned styles, methods of maintaining tension etc., bringing a grand ending to the 10 minute long work.

Full Orchestra - Level 3 - Digital Download

SKU: A0.1027336

Composed by Jeremy Goh, Daniel Cheng. Contemporary. Score and parts. 78 pages. Jeremy Goh #12125. Published by Jeremy Goh (A0.1027336).

We present a work composed as a tongue-in-cheek expression of a popular street tune heard today, put through a series of 5 variations that explore different styles. It works in both a satirical as well as sophisticated manner vertically and horizontally, and uses multiple cliches that will get the audience perking up in recognition. The theme, 贺新年, is a common tune sung in Chinese New Year celebrations. In the heart of celebrating the New Year, this piece is written playable by musicians of all ages, whether in schools or as community orchestras and bands, to come together by the common celebratory notion in a work for an extended orchestra, including the saxophone and euphonium. Written by Daniel Cheng and Jeremy Goh, we hope that this season this piece can bring both laughter and reverence to the street tune, blown out of proportion in style and size. Starting the work is an atonal entry, built on tone rows and planing, legacies of Shoenberg and his contemporaries, before decomposing into an exceedingly lively statement of the theme. This is then juxtaposed beside a trip to tribal communities with interlocking rhythms and a modal distortion of the melody. From the modal mess and deviation from diatonicism, we then return to the prim and proper style of Mozart and Haydn in a short Classical variation. As if to mock its neat stature, this then is shattered with a juxtaposition beside a variation in the style of Shostakovich, modelled after the controversial Leningrad symphony, which draws on a different dimension of the theme, its banality, and propagating and emulsifying it to terrifying levels as it is distorted. Finally, a schreckenfanfare is directed marking an entry into a tribute to one of the greatest legends in music composition, with Beethoven along with its transcendental qualities of cyclism, and use of learned styles, methods of maintaining tension etc., bringing a grand ending to the 10 minute long work.

Choral Choir,Choral,SATB Chorus - Level 5 - Digital Download

SKU: A0.1441952

By Kevin Longley. By Kevin Longley. Arranged by Kevin Longley. 21st Century,Contemporary,Religious,Spiritual. 38 pages. Kevin Longley #1021944. Published by Kevin Longley (A0.1441952).

The Inspiration

In 2023 I decided to review a piece I had composed in 1990 to honor a friend I was singing with in a choral group at that time; Charles Munion. He never heard the piece as I felt the classical contemporary style would be a bit much for his ears! Beyond that I don't have allot of recollection as to the inspiration or what my thoughts were at the time of the composition. In regards to the revision, I added additional music to the third movement in order to balance out the movements and reworked some of the choral voicing.

The Music

Written in a contemporary classical style it follows the classic structure of 3 movements:

• First movement – brisk, loud forceful in nature
• Second movement – slow and lyrical
• Third movement – light and quick but with a forceful ending

While in a contemporary style, at heart it maintains tonal centers throughout. While there is a few brief moments where I can here a little Bartok, as a whole I would say this piece is unique in regards to its style.