Alto Saxophone,Bass Trombone,Piano Accompaniment - Level 5 - Digital Download SKU: A0.1447517 Composed by Elizabeth Raum. 21st Century,Contemporary. 37 pages. Gordon Cherry #1027301. Published by Gordon Cherry (A0.1447517). Below are the program notes for Illusion for Alto Sax, Bass Trombone & Piano by Elizabeth Raum.Illusion, is a general commentary to the fact that life is mysterious and generally, uncertain, constantly shifting. We try to influence what happens but usually, outside forces determine the direction of our lives. Sometimes it’s hard to distinguish between illusion and reality, and, in fact, often people much prefer illusion to reality. Mv. 1 - Illusion starts out with an obscure time signature and is constantly shifting tonalities so for a while, you aren’t quite sure where you are. Life is full of such deceptions.Mv. 2 - Fill the Wine Cup is a series of drinking songs with a lot of gayety and rollocking humour as the party gets more raucous, but eventually things get a little blurry and bombastic and the party winds down. The trombone, due to its ability to imitate drunken reeling with glissandos, is often cast in this role. M. 3 - Destiny seems to march on and on, with mankind hoping to control their future, but the implication is that fate is more powerful than one can control.M. 4 - The ultimate illusion: a Political Debate. The trombone starts out as the first candidate, and the alto sax is the other. The music is circus-like as befits many heated debates.Illusion was commissioned by Lucas Kaspar and JD Little. There are editions for Trumpet and Bass Trombone and Trumpet and Tuba, all accompanied by Piano.The work of about 10 minutes in length is appropriate for advanced performers and may also be performed on a Trombone with an f-attachment.

Solo Guitar - Level 4 - Digital Download SKU: A0.914738 Composed by Eric J Roth. 20th Century,Contemporary. Individual part. 7 pages. Eric J Roth #4756827. Published by Eric J Roth (A0.914738). (7 pages. 3 pages of music)This Passacaglia is  the first of a four-movement sonata composed in 2018. Publication of the entire  sonata is forthcoming, but the Passacaglia is offered here as a single,  standalone work. I have performed the Passacaglia in my own concert programs  both on its own and as part of the larger sonata. I believe that it works  equally well both ways. The Passacaglia form  originated in 17th-century Spain. It started as a series of strummed  chords that served as an interlude between dances. The term itself translates  as street song. Over time, it evolved to become a series of variations set  over an ostinato or ground bass, usually in triple meter. It is often  indistinguishable from a Chaconne. In character, the Passacaglia is often  serious, or even grave. The Passacaglia  offered here adheres to this tradition in most ways, except that it is in 5/4 instead of triple meter. The ostinato phrase is five measures long and set in  quarter notes. Variations usually occur in pairs and are distinguished by  texture. Beginning simply, the variations build in complexity throughout the  piece. The main theme, introduced in the second pair of variations, recurs  later in a fuller texture. One final statement of the ostinato in bare octaves  ends the piece. The tonality stems from an E harmonic minor scale, although an  added B flat serves to blur any sense of strict tonality.Please note that there are some minor differences between the score and the YouTube video of a live performance from 2018.