Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.949181 Composed by Ludwig van Beethoven. Arranged by Ian D. Crew. Classical,Concert,Romantic Period,Standards,Wedding. Score and parts. 16 pages. Grumpy Mule Music #6438051. Published by Grumpy Mule Music (A0.949181). The Three Marches Op. 45 by Ludwig van Beethoven (1770 – 1827) were commissioned by Count Johann Georg von Browne-Camus, a brigadier general in the Russian army and the composer's patron in the early 1800s. Originally written for piano duet, all three pieces capture the spirit of military Harmoniemusik, and so easily lend themselves to reworking for wind quintet. Here's the second of the set, in E flat major. Happy parping!

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.1445952 Composed by Ludwig van Beethoven. Arranged by Marc Donatelle. 19th Century,Classical,Romantic Period. 99 pages. Marc Donatelle #1025774. Published by Marc Donatelle (A0.1445952). Composed in 1800–1801, around the same time as he completed his First Symphony, the Sonata No. 12 in Ab Major is dedicated to Prince Karl von Lichnowsky, who had been his patron since 1792.It consists of four movements, Andante con variazioni, Scherzo, Marcia Funebre sulla Morte d'un Eroe, and Allegro, Rondo.This technically challenges the brass quintet, but also shows off its elegance and power in the Marcia Funebre.I did leave one variation (Var. 5) out of the first movement Andante, as it did not lend itself well.

Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.949182 Composed by Ludwig van Beethoven. Arranged by Ian D. Crew. Classical,Concert,Romantic Period,Standards,Wedding. Score and parts. 17 pages. Grumpy Mule Music #6445761. Published by Grumpy Mule Music (A0.949182). The Three Marches Op. 45 by Ludwig van Beethoven (1770 – 1827) were commissioned by Count Johann Georg von Browne-Camus, a brigadier general in the Russian army and the composer's patron in the early 1800s. Originally written for piano duet, all three pieces capture the spirit of military Harmoniemusik, and so easily lend themselves to reworking for wind quintet. Here's the third of the set, in D major. Happy hooting!

Piano Solo - Level 3 - Digital Download SKU: A0.574005 Composed by James Michael Stevens. Arranged by James Michael Stevens. 20th Century,Easter,New Age,Sacred. Score. 4 pages. James M Stevens Music ASCAP #6231585. Published by James M Stevens Music ASCAP (A0.574005). Written January 12, 2021, this is an original piano composition in the key of B flat major.

Instrumental Solo,Piano,Violin - Level 3 - Interactive Download SKU: A0.1403904 By Traditional Fiddle Tunes. By Trad. Arranged by Heather M Music. This edition: Interactive Download. Folk,World. Individual part. 4 pages. Duration 36. Heather Mueller Music #4vkAseDQa0D4Y1yWxJMkpL. Published by Heather Mueller Music (A0.1403904). Key: D major.Title: The Snowy Path Type/Genre: Slip Jig (Irish) Arranger: Heather M Music Composer: Trad (Traditional) Description: Experience the serene beauty of The Snowy Path, a captivating slip jig deeply rooted in the musical traditions of Ireland. This enchanting tune, known for its elegant melodies and lively rhythms, transports you to a winter wonderland where snow-covered landscapes and frosty air create a magical atmosphere. Whether you're playing at a session or immersing yourself in the rich tapestry of Irish musical heritage, The Snowy Path invites you to journey through the serene beauty of Celtic tradition. Let the graceful tempo and dynamic energy of this slip jig transport you to the heart of Ireland's musical landscape, where every note sparkles like freshly fallen snow. Key Features: Interactive Sheet Music: Seamlessly adjust the Key, Tempo, and instrument volumes using our intuitive sheet music interface. Melody and Basic Accompaniment: Our comprehensive sheet music includes the melody along with basic accompaniment and guitar chords, providing a solid foundation for musicians of all levels.

Piano,Vocal,Voice - Digital Download SKU: A0.537961 Composed by Adelina Patti. Arranged by ArtSongTranspositions.com. Romantic Period. Score. 7 pages. AST Publications, LLC #3549885. Published by AST Publications, LLC (A0.537961). ⇨ PAY $0.00 with INSTITUTIONAL MEMBERSHIP✓ 10,000+ art songs and Baroque aria PDFs✓ Transpose sheet music to any key✓ Free for faculty, students, staff, and employees✓ Campus-wide access via IP authentication✓ Off-campus access via EZproxy or SAML

Guitar - Level 3 - Digital Download SKU: A0.975724 Composed by Johann Sebastian Bach. Arranged by Pete Downes. Baroque,Concert,Sacred,Standards,Wedding. Guitar Tab. 5 pages. Pete Downes #6409561. Published by Pete Downes (A0.975724). This is a solo guitar adaptation of Prelude no 1 from Bach's Well Tempered Clavier. A beautiful and timeless piece ideal for many occasions. ApproachFor it to fall well under the fingers on guitar I have changed the arpeggio pattern. For example, on the opening C chord, instead of the original intervals of 1, 3, 5, 8, 10, 5, 8, 10, I use 1, 5, 8, 1, 10, 1, 5, 8, which I feel makes the low end work better on guitar and also allows for more natural guitar chord shapes throughout. Chord symbols and tab has been included alongside standard guitar notation. It has been notated as fast 8ths instead of 16ths to make it appear less daunting to learners.Practice suggestionLearn the right hand arpeggio pattern on the first C chord: p i m p a p i m. This will give you the pattern for most of the following chords.Learn a few bars from the beginning, then learn the last few bars after it breaks from the arpeggio pattern. This will prepare you for this change. Web: http://www.petedownes.com

Acoustic Guitar - Interactive Download SKU: A0.480769 Composed by Chris O'Mara. This edition: Interactive Download. Blues,Children,Christmas,Classical,Contest,Country,Folk,Hip-Hop,Holiday,Jazz,Latin,Musical/Show,Pop,Praise & Worship,Rock. Score. 3 pages. Duration 24. Published by comaramusic (A0.480769). Learn the various paths of the E Major scale on guitar. Gain fluency with open and closed notes. Custom work and lessons available online. Thank you!

Piano Solo - Level 4 - Digital Download SKU: A0.1248579 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #843071. Published by Brian Golden (A0.1248579). Prelude 17 in E Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden   The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.    While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.    In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.

Piano Solo - Level 5 - Digital Download SKU: A0.1191533 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 5 pages. Brian Golden #791032. Published by Brian Golden (A0.1191533). Prelude 5 in Bb Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden   The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.    While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.    In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.

Piano Solo - Level 4 - Digital Download SKU: A0.1292437 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #883010. Published by Brian Golden (A0.1292437). Prelude 21 in D Major Mixolydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden   The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.    While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.    In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.

Piano Solo - Level 4 - Digital Download SKU: A0.1189545 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #789177. Published by Brian Golden (A0.1189545). Prelude 1 in C Major Ionian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden.   The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.   While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.    In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.

Piano Solo - Level 4 - Digital Download SKU: A0.1216196 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 11 pages. Brian Golden #812807. Published by Brian Golden (A0.1216196). Prelude 11 in Db Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden   The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.    While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.    In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube Link https://youtu.be/xb4E0I-vJek.

Piano Solo - Level 5 - Digital Download SKU: A0.1248571 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #843062. Published by Brian Golden (A0.1248571). Prelude 13 in F# Major Ionian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden   The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.    While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.    In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.

Piano Solo - Level 4 - Digital Download SKU: A0.1248572 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #843064. Published by Brian Golden (A0.1248572). Prelude 15 in B Major Mixolydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden   The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.    While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.    In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.