Tuba Solo - Level 2 - Digital Download SKU: A0.951624 Composed by Danny Elfman. Arranged by Travis Hayman. Contemporary. Individual part. 6 pages. Travis Hayman #6573317. Published by Travis Hayman (A0.951624). Tales from the Crypt, sometimes titled HBO's Tales from the Crypt, is an American horror anthology television series that ran from June 10, 1989, to July 19, 1996, on the premium cable channel HBO for seven seasons with a total of 93 episodes. The show's title is based on the 1950s EC Comics series of the same name and most of the content originated in that comic or other EC Comics of the time. The theme song (by Danny Elfman) is just a iconic as the show's host, the Crypt Keeper.

Trombone Solo - Level 2 - Digital Download SKU: A0.951625 Composed by Danny Elfman. Arranged by Travis Hayman. Contemporary. Individual part. 6 pages. Travis Hayman #6573351. Published by Travis Hayman (A0.951625). Tales from the Crypt, sometimes titled HBO's Tales from the Crypt, is an American horror anthology television series that ran from June 10, 1989, to July 19, 1996, on the premium cable channel HBO for seven seasons with a total of 93 episodes. The show's title is based on the 1950s EC Comics series of the same name and most of the content originated in that comic or other EC Comics of the time. The theme song (by Danny Elfman) is just a iconic as the show's host, the Crypt Keeper.

Organ - advanced - Digital Download SKU: S9.Q7013 Te Deum. Composed by Enjott Schneider. This edition: Sheet music. Die 6. Orgelsinfonie Te Deum übernimmt die Fünfergliederung und einige Motive aus Bruckners Te Deum, um daraus ein kompaktes von Wucht und Gotteslob erfülltes Werk zu werden. Downloadable. Duration 28 minutes. Schott Music - Digital #Q7013. Published by Schott Music - Digital (S9.Q7013). With his organ symphonies, the composer Enjott Schneider (born 1950) from Munich has been a profound sensation in recent years and seen world premieres at major European organ events. The Organ Symphony No. 6 'Te Deum' (premiered at Bruckner's St. Florian above Bruckner's tomb in 2008 and recorded there on CD) adopts the five-part structure and several motifs from Bruckner's 'Te Deum', thus becoming a forceful compact work pervaded by the Gotteslob. 1: 'Te Deum' is based on Bruckner's original figuration of fifths and eighths which is connected with the Latin Te Deum; 2: 'Te Ergo' is a 'preghiera' with pleading and praying gestures; 3: 'Aeterna fac' is an extremely virtuoso perpetuum mobile; 4: 'Salvum Fac' a basso ostinato and finally 5: 'In te, Domine speravi' a toccata which, after taking many detours, inevitably leads to the C major.

Cello,Instrumental Duet,Violin - Level 4 - Digital Download SKU: A0.1371768 Composed by Socrates Arvanitakis. 21st Century,Contemporary. 75 pages. Socrates Arvanitakis #955999. Published by Socrates Arvanitakis (A0.1371768). GENERAL PREFACE – ΓΕ�ΙΚΟΣ ΠΡΟΛΟΓΟΣThis edition of violin and violoncello duets follows closely my publication of the same Greek folk pieces for classical guitar. The arrangements for guitar solo were written in two-part counterpoint and followed the strophic form of the folk songs involved. The melodic transcriptions of the folk melodies were not based in any particular performance, also avoiding the elaborate in many cases instrumental introductions associated with these songs. Thus, only the vocal melodies in a general recognizable version were presented. This new presentation for instrumental duets will stay with this generalised melodic version (without exploiting the instrumental introductions), but the form from strophic will become ternary (ABA). In the middle section the main melody will be played in the lower voice and the original guitar contrapuntal voice will be used in the upper voice if by chance it includes invertible counterpoint, otherwise new material will be added to fit the rules but also the intended harmony.The total collection is centred more on the music from mainland Greece and less in that from the Islands.The three dance rhythms of Kalamatianos (7/8), Tsamikos (3/4), and Syrtos Balos (2/4) are predominant in the whole first collection.TECHNICALSeparate parts have been included and they can be extracted as separate files with any free PDF editing programme on line.Empty pages have been added for inclusion/deletion at will and left-right hand page arrangement.Thematic Index with active internal links for ease of navigation have been added.Audio file (mp3) has been addedCONTENTS146 ΜΙΑ ΠΑΠΑΔΙΑ (A Certain Priest's Wife)147 ΜΙΑ ΠΕΡΔΙΚΟΥΛΑ ΞΕΒΓΑΙ�Ε (A Little Partridge Was Coming Out)148 ΜΙΑ ΣΜΥΡ�ΙΑ ΣΤΟ ΠΑΡΑΘΥΡΙ (A Lass From Smyrna In The Window)149 ΜΙΑ ΦΟΡΑ 'ΜΟΥ�Α ΠΟΥΛΙ (Once I  Was A Bird)150 ΜΟΙΑΖΕΙΣ (You Are Like...)151 ΜΟΙΡΟΛΟΓΙ (Dirge)152 ΜΟΥ ΠΑΡΗΓΓΕΙΛΕ Τ' ΑΗΔΟ�Ι (The Nightingale Messaged Me)153 ΜΠΑΙ�Ω ΜΕΣ' Τ' ΑΜΠΕΛΙ (I enter the Vine Yard)154 ΜΠΑΛΟΣ Ο (Balos Dance)155 ΜΠΑΤΕ ΚΟΡΙΤΣΙΑ ΣΤΟ ΧΟΡΟ 1 (Girls, Joint The Dance 1)156 ΜΠΑΤΕ ΚΟΡΙΤΣΙΑ ΣΤΟ ΧΟΡΟ 2 (Girls Joint The Dance 2)157 ΜΠΕΡΔΕΥΤΗΚΕ ΜΙΑ ΛΕΪΜΟ�ΙΑ (A Lemon Tree Was Entangled)158 �Α ΧΑΜΗΛΩ�Α� ΤΑ ΒΟΥ�Α (Let The Mountains Come Low)159 �Α�ΟΥΡΙΣΜΑ (Lullaby)160 �ΑΣΑ� ΤΑ �ΕΙΑΤΑ ΔΥΟ ΦΟΡΕΣ (I Wish Youth Was Twice)161 �ΑΧΑ �ΕΡΟ 'ΠΤΟ� ΠΛΑΤΑ�Ο  (I Wish I Had Water From The Plane Tree).

Instrumental Duet Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.890701 Composed by John Pitts. Baroque,Contemporary. Score and parts. 36 pages. Intensely Pleasant Music #3424663. Published by Intensely Pleasant Music (A0.890701). Passacaglia (2000-2012) duet 6 minutes This piece also exists in versions for organ (my original version in 2000) and orchestra (performed by Bristol University Symphony Orchestra under the baton of John Pickard in 2001). The piano duet version was finally completed in 2012.  The theme is based on the ground bass from Bach’s stonking Passacaglia in C minor for organ. However, the implied harmonies of Bach’s original ground bass are treated to some twisted harmonies – where each chord is altered using a system of harmonic substitution - swapping each chord implication for a newly chosen one (Cm=C, Fm=F#, G=A, Dm=A¨, Eb=F and on it goes around the 12 chromatic notes).  Each key therefore has a ‘dominant’ and ‘subdominant’ that are not the actual chords V and IV in that key, so the traditional cadences and chord relationships are supplanted by 12 individual 3-chord relationships – one set of three chords for each of the 12 (now almost exclusively major) keys. In an attempt to recreate the pulls of the traditional tonic-dominant-subdominant relationships, each key then also has a particular mode/scale with particular added notes that are designed to recreate the sense of moving away from and back towards the home chord of that key. This results in a lot of rich added harmonies and some idiomatic voice-leading. Bach’s original theme in Cm is: C G - E¨ F - G A¨  - F G - D E¨ - B C -   F G   - C, and in the opening statement of the ground bass this has become: C A - E F# - A B¨ - F# A - D# E - C# C - F# A - C. There are then 21 variations which modulate through a range of keys, during which the ground bass is constantly re-adjusted to fit the new harmonic areas. It starts in C major, then goes through ‘closely’ related keys (eg A major and A¨ major), and then back to C in variations 6, 9 and 11. This kind of arch then happens again but going through more distant keys before returning to C in variations 18, 19 and the final climactic variation 21. Leaving aside the structural and tonal nuts and bolts, my aim was to compose a piece that attempts to recapture some of the nobility and beauty of Bach's Passacaglia, with rich added note harmonies, and exuding an exuberant joy.

Organ - Level 5 - Digital Download SKU: A0.909270 Composed by Vidas Pinkevicius. Christian,Contemporary,Sacred. Score. 8 pages. Vidas Pinkevicius #3540609. Published by Vidas Pinkevicius (A0.909270). In the fall of 2013 my friend and colleague, Paulius Grigonis who is the organist at St Joseph church here in Vilnius was preparing to play a recital at Vilnius Cathedral around Christmas time. He approached me asking for advice about the pieces he could be playing.I offered him to compose a set of 6 variations on the famous Christmas tune Adeste fideles and he agreed too much hesitation (too bad).I started working on the composition but got stuck at the end of the 5th variation. I used major and minor chords only. My goal was to create something colorful and modern and yet understandable to the listener.Because of these simple chords the harmonies are very clear and transparent. What makes it sound modern though is that I avoid traditional chordal progressions of the perfect fourth and perfect fifth. This would imply tonic-dominant, dominant-tonic, tonic-subdominant, subdominant-tonic relationship.But I didn't want this. I wanted to surprise my audience and my friend Paulius. So I chose all kinds of progressions - minor and major seconds, minor and major thirds, even a tritone to keep it fresh.However, the result was too difficult to play for Paulius on a short notice and I got side-tracked with other projects. Although the idea of completing the variations never left me.So last weekend I sat down and added the last variation with a CODA.I hope you'll enjoy this piece which is dedicated to Paulius.8 pages, PDF score. Advanced level.

Organ - Level 5 - Digital Download SKU: A0.890713 Composed by John Pitts. Baroque,Christian,Contemporary,Sacred. Score. 20 pages. Intensely Pleasant Music #3424723. Published by Intensely Pleasant Music (A0.890713). Passacaglia (2000-2012) for Organ - 6 minutes  This piece exists in versions for organ (this one - the original version in 2000) and orchestra (performed by Bristol University Symphony Orchestra under the baton of John Pickard in 2001), and finally a piano duet version completed in 2012.   The theme is based on the ground bass from Bach’s stonking Passacaglia in C minor for organ. However, the implied harmonies of Bach’s original ground bass are treated to some twisted harmonies – where each chord is altered using a system of harmonic substitution - swapping each chord implication for a newly chosen one (Cm=C, Fm=F#, G=A, Dm=A¨, Eb=F and on it goes around the 12 chromatic notes).  Each key therefore has a ‘dominant’ and ‘subdominant’ that are not the actual chords V and IV in that key, so the traditional cadences and chord relationships are supplanted by 12 individual 3-chord relationships – one set of three chords for each of the 12 (now almost exclusively major) keys. In an attempt to recreate the pulls of the traditional tonic-dominant-subdominant relationships, each key then also has a particular mode/scale with particular added notes that are designed to recreate the sense of moving away from and back towards the home chord of that key. This results in a lot of rich added harmonies and some idiomatic voice-leading. Bach’s original theme in Cm is: C G - E¨ F - G A¨  - F G - D E¨ - B C -   F G   - C, and in the opening statement of the ground bass this has become: C A - E F# - A B¨ - F# A - D# E - C# C - F# A - C. There are then 21 variations which modulate through a range of keys, during which the ground bass is constantly re-adjusted to fit the new harmonic areas. It starts in C major, then goes through ‘closely’ related keys (eg A major and A¨ major), and then back to C in variations 6, 9 and 11. This kind of arch then happens again but going through more distant keys before returning to C in variations 18, 19 and the final climactic variation 21. Leaving aside the structural and tonal nuts and bolts, my aim was to compose a piece that attempts to recapture some of the nobility and beauty of Bach's Passacaglia, with rich added note harmonies, and exuding an exuberant joy.

Piano Solo - Level 3 - Digital Download SKU: A0.1250575 Composed by Jonathan David Whitcomb. Baroque,Classical. Score. 2 pages. Whitcomb Music #844857. Published by Whitcomb Music (A0.1250575). This piano piece brings to mind the pure counterpoint of the two-part inventions of Johann Sebastian Bach but with a unique harmonic style that differs from the harmony of that Baroque composer yet feels similar. In spite of that difference, it may sound, to the ears of many listeners, like a new discovery: another little keyboard invention by Bach. For those with more refined ear, For Elizabeth may seem like a piece of the soul of Bach's keyboard works . . . minus the old wig.Bach's clear dominant and subdominant harmony is absent, replaced with a four-note chord (or arpeggio) that takes the place of both dominant and subdominant. For many persons, however, it may sound like another Bach two-part invention.It could be termed an exercize in arpeggios, yet it can be delightful to master: a refreshing change for those who've enjoyed Bach's keyboard inventions or a potential delight for those who have never encountered those pieces by the Baroque master.This is NOT an arrangement of a piece by Bach but a 21st century composition by Jonathan David Whitcomb.Two pages.

String Ensemble,String Quintet Cello,Double Bass,Viola,Violin - Level 2 - Digital Download SKU: A0.802879 By Rick Astley. By Matthew Aitken, Mike Stock, and Peter Waterman. Arranged by Ellen Harle. Pop. Score and parts. 21 pages. Fireworks Music #409853. Published by Fireworks Music (A0.802879). Made popular in the past decade, the rickroll is a classic bait and switch prank, whereby someone is tricked into listening to Rick Astley's Never Gonna Give You Up when expecting something different. Your students will love to Rickroll their audience! This arrangement starts with a snippet of Pachelbel's timeless Canon in D, to lull the audience into a false sense of seriousness - the bass plays the usual cello part here, with the cello leading the canon. After a few bars, we pause on a dominant chord, before launching into the upbeat strains of this classic 80's pop anthem. To leave out the prank, just omit the first two lines, and commence from rehearsal mark A. Arranged into D major for ease of playing. Cello, bass and viola parts include limited position work. The melody is passed between parts with the exception of the double bass, who opens the Pachelbel's Canon in D snippet. Included in purchase is the score and all parts, including Violin 3 (Viola part in treble clef). A great piece for school age students.

Piano Solo - Level 3 - Digital Download SKU: A0.976844 Composed by Monica Bergo. Children,Contemporary. Score. 8 pages. Monica Bergo #3236683. Published by Monica Bergo (A0.976844). 2017 Holiday Contest Entry♫*´¨`*•.¸¸.♫L’ULTIMO MIO FIORE (Il lupo e la strega) Guardo l'ultimo mio fiore perde il suo profumo ed io non so che fare lo proteggo col calore di quest'altra storia che ho da raccontare   creature sole e disperate tante cicatrici da rimarginare una strega e un lupo non lo sanno ancora che i loro destini stanno per unire   ed inizia questa storia magica dolce come antica favola in un bosco senza luogo e senza età fuori dalla realtà   ed il tempo è fermo e non si muove un alito ed il cuore , esplode e salta un battito e guardarsi è riconoscersi come non essersi perduti mai   ed il lupo che è ferito una rosa bianca in rossa ha trasformato perde sangue insieme a gocce di dolore i suoi occhi rossi bruciano d'amore   e la strega invece si nasconde perchè non è bella e no, non è importante a nessuno al mondo è mai appartenuta ed una carezza non l'ha mai sfiorata   lei lo cura e gli accarezza l'anima lui la guarda e la sua rabbia domina ed un anno dura solo un attimo persi nell'eternità   ed il lupo le racconta favole e la strega fa pozioni magiche e si scambiano promesse inutili che la notte custodirà   e lei ballerà nuda danzerà ed il lupo col suo cuore in mano steso accanto al fuoco che si accende piano, così liberi senza ostacoli e si specchiano nel lago magico e non lo sentono quel freddo brivido non durerà, non lo senti anche tu? freddo intorno a noi   Abracadabra da bruco a farfalla alakazam!! e sono anch'io bella non vi chiedete il come e il perchè ho incominciato a parlare di me cade la neve ma siamo in agosto e non c'è cosa che trovi un suo posto questa mia musica parla da sè questa è la fiaba più strana che c'è   io mi fermo qui finirà così non posso raccontare la fine di un amore che scritta ancor non è   io mi fermo qui finirà così nel vuoto e nell'assenza in questi giorni miei silenzio ed incostanza nei sentimenti tuoi il fiore muore già   vai lupo vai non pensare più a lei dal tuo branco tornare dovrai e allora scappa   strega potrai trasformarti se vuoi cambia ruolo da attrice che sei e nuovi fiori avrai   passo i giorni dentro il buio in caverne di rimpianto li miscelo con pozioni e trasformo tutto in pianto come un gatto nella notte cerco il cibo tra i rifiuti senza sole, senza luce nessun dio che qui mi aiuti   corpo e spirito ammaccato come un vetro conficcato dentro al povero mio cuore il ricordo di un amore mai vissuto veramente così vivo nella mente è l'istinto mio animale che mi spinge a farmi male   mentre un altro sogno muore la strega nel lago si fa scivolare l'acqua la lambisce piano nei suoi occhi il lupo che ormai è già lontano   una fiaba vera od inventata sta nel mezzo la mia verità celata tutte le mie storie strane e strampalate

Choir Sacred flute, oboe, 2 trumpets, 2 trombones, percussion, dir. score - Digital Download SKU: JX.00-25548 This edition: InstruPax. Choral (Sacred); Choral Worship Cantata; Larger Works; Performance Music Ensemble; Worship Resources. H. W. Gray. Palm Sunday; Sacred; Spring. Part(s); Score. 35 pages. H. W. Gray #00-25548. Published by H. W. Gray (JX.00-25548). English. Words by John Parker; music; orch. Lloyd Larson. Isaiah 49:1-7, Isaiah 50:4-9a, Isaiah 52:1-53:12, Psalm 21, Psalm 31, Psalm 71, Psalm 116, Psalm 118, Matthew 21:1-11, Matthew 26:14-27:66, Mark 11:1-11, Mark 14:1-15:47, Luke 19:28-40, Luke 22:14-23:56, John 12:12-16, John 13:21-32, John 18:1-19:42, Heb.This highly charged 4-minute musical drama opens with the joyous splendor of Christ's entry into Jerusalem. Crowds welcome Him with shouts of Hosanna! Blessed is He who comes in the name of the Lord! But, beneath these welcoming cries -- in the shadow of the palms -- lies an ominous undertone, a foreshadowing of the events to come, highlighted by dramatic narrative. Don't miss Lloyd's outstanding orchestration (optional, available separately). InstruPax includes parts for flute, oboe, 2 trumpets, 2 trombones, precussion, director score.

Choral Choir (SATB divisi) - Level 4 - Digital Download SKU: A0.1027050 By Dorian Kelly. By Dorian Kelly. Arranged by Dorian Kelly. 20th Century,Contemporary,Multicultural,World. Octavo. 13 pages. Modal Music #632506. Published by Modal Music (A0.1027050). Your Teeming Shore - for SATB choir and piano. The New Colossus is a sonnet written by American poet Emma Lazarus in 1883 to raise money for the construction of a pedestal for the Statue of Liberty. In 1903, the poem was cast onto a bronze plaque and mounted inside the pedestal's lower level. 'The New Colossus' reinvented the statue's purpose, turning Liberty into a welcoming mother, a symbol of hope to the outcasts and downtrodden of the world. John T. Cunningham (an American journalist and historian) wrote: The Statue of Liberty was not conceived and sculpted as a symbol of immigration, but it quickly became so as immigrant ships passed under the torch and the shining face, heading toward Ellis Island. However, it was Lazarus's poem that permanently stamped on Miss Liberty, the role of unofficial greeter of incoming immigrants�. In the current political climate, Lazarus's words remain relevant and poignant.

Choir Sacred Instrumental Ensemble - Digital Download SKU: JX.00-29272 Composed by Keith Getty and Kristyn Getty. Arranged by Kyle Hill and Thomas Fettke. This edition: InstruPax. Choral (Sacred); Choral Octavo; Performance Music Ensemble; Single Titles; Worship Resources. Alfred SingPraise Series. Sacred. Part(s). 47 pages. Jubilate Music Group - Digital #00-29272. Published by Jubilate Music Group - Digital (JX.00-29272). English. Orchestrated by Kyle Hill. Psalms 31, Psalms 33, Psalms 91, Isaiah 52:13-53:12, John 18:1-19:42, Romans 5:1-8, Ephesians 2:4-10, Ephesians 5:8-14, Philippians 3:17-4:1, 2 Timothy 1:8-10 .Beneath the cross of Jesus, the path before the crown, we follow in His footsteps where promised hope is found. Using the inspired, contemporary hymn by Keith and Kristyn Getty, Fettke creates a tremendous, yet thoughtful offering telling us of the promise found in our Savior's cross. Masterfully orchestrated by Kyle Hill, instrumental parts and a full-orchestra accompaniment CD are available.

Drum Set,Drums - Level 3 - Digital Download SKU: A0.1313075 By Frank P Martinez Jr. By Frank P Martinez Jr. Arranged by Frank P Martinez Jr. Christian. Score. 4 pages. Life In Christ Ministries #901912. Published by Life In Christ Ministries (A0.1313075). Yet he did not waver through unbelief regarding the promise of God, but was strengthened in his faith and gave glory to God, being fully persuaded that God had power to do what he had promised.

Acoustic Guitar,Instrumental Solo,Piano - Level 5 - Digital Download SKU: A0.1287061 Composed by Hans Haug. Arranged by Zellev. 20th Century,Broadway,Classical,Contemporary,Medieval,Musical/Show. Score and individual part. 20 pages. Zellev Music #878068. Published by Zellev Music (A0.1287061). Hans Haug (1900-1967) was a Swiss composer and conductor, mainly of operas and theatrical music. He also became known as a composer for the classical guitar.In December 1950, Haug's Concertino for Guitar and Chamber Orchestra won a prize at a composition competition for guitar at the Accademia Musicale Chigiana in Siena, Italy. It was Haug's first guitar composition. The prizewinners were promised that Segovia would premiere their pieces in the summer of 1952 and that they would be published afterwards by Schott of London. Whereas this promise was kept in the case of Tansman's Cavatina (Schott published it in 1952), Segovia never played Haug's Concertino, which had to await publication until three years after Haug's death in 1970. It appeared in a facsimile edition under the auspices of Edizioni Musicali Bèrben. Alexandre Lagoya and the Lausanne Chamber Orchestra played its world premiere.Hans Haug became acquainted with other guitarists such as Luise Walker at the Geneva Competition in 1956. As a result of this meeting, he wrote his Fantasia for Guitar and Piano (1957), which he dedicated to her. In 1963, his Capriccio for flute and guitar was written for the duo Werner Tripp and Konrad Ragossnig (released on RCA Victor 440.182). Also, Haug composed a Concerto for flute, guitar and orchestra in 1966, and he used the guitar in some other works.