By Kathy Mattea. Arranged by Ray-Michael Kauffman. Individual Part, Score, Set of Parts, Sheet Music Single, Solo Part. 28 pages. Published by a " do Ray me " flute studio production

Small Ensemble Glockenspiel,Melodica,Piano - Level 3 - Digital Download

SKU: A0.999315

Composed by Vasilis Tsantilas. 20th Century,Children,Contemporary,Instructional,Standards. Score and parts. 21 pages. Vasilis Tsantilas #6252809. Published by Vasilis Tsantilas (A0.999315).

Butterfly’s Life is an expression of life’s beauty and transfiguration. Piano(felt) is the main instrument of the composition and the melodies of melodica and glockenspiel motivate the listener in a musical flight toward light.

Score and parts included: Score, piano part, Melodica part, Glockenspiel part, plus a Solo Piano version.

*The part of Melodica may also be performed by Accordion, Bandoneon, while the Glockenspiel part may also be performed by Metallophone, Celesta , Toy Piano.

The composition is suitable for school ensembles.

 

For more information about performance details you can contact with composer at the following email: tsantilass@gmail.com

Spotify Artist:  https://bit.ly/SpotifyVasilisTsantilas

Bandcamp Artist: https://vasilistsantilas.bandcamp.com

Social media links:

https://www.linkedin.com/in/tsantilass/ 

https://twitter.com/tsantilass 

https://www.facebook.com/vasilis.tsantilas.71 

YouTube channels:

https://bit.ly/YouTubeVasilisTsantilas

https://bit.ly/YouTubeVasilisTsantilasTopic

Small Ensemble Alto Saxophone,Low Voice,Piano Accompaniment - Level 3 - Digital Download

SKU: A0.999314

Composed by Vasilis Tsantilas. Concert,Contemporary,Graduation,Standards,World. Score and parts. 13 pages. Vasilis Tsantilas #6019211. Published by Vasilis Tsantilas (A0.999314).

‘’Ston Daskalo’’ (The Teacher) is a song for female voice (Mezzo Soprano or Alto), Alto Sax and Piano. Composed by Vasilis Tsantilas on the poem ‘’Ston Daskalo’’ (The Teacher), written by the poet Kostis Palamas (1859-1943).

Score and parts included: Score, Piano-Voice part, Voice part, Alto Sax (written pitch), Alto Sax (concert pitch).

*The part of Alto Sax may also be performed by Clarinet, Oboe, Flute, Violin or any other solo instrument with that range.

 

For more information about performance details you can contact with composer at the following email: tsantilass@gmail.com

Spotify Artist:  https://bit.ly/SpotifyVasilisTsantilas

Social media links:

https://www.linkedin.com/in/tsantilass/ 

https://twitter.com/tsantilass 

https://www.facebook.com/vasilis.tsantilas.71 

YouTube channels:

https://bit.ly/YouTubeVasilisTsantilas

https://bit.ly/YouTubeVasilisTsantilasTopic

Piano Solo - Level 4 - Digital Download

SKU: A0.818229

By Stephen R Dalrymple. By Isaac Watts and Lowell Mason (from George Frederick Handel). Arranged by Stephen R Dalrymple (Dalrymple Designs). Christmas. Score. 14 pages. Stephen R Dalrymple #3087649. Published by Stephen R Dalrymple (A0.818229).

Joy to the World with The Hallelujah Chorus
♫ piano solo arrangement by Stephen R Dalrymple
♫ based on the public domain hymn by Isaac Watts and Lowell Mason (from George Frederick Handel)
♫ Isaac Watts published the lyrics in 1719. We credit Isaac Watts for helping to popularize “hymns� over “Psalms� in Protestant churches in the 18th Century. The texts of “Psalms� came directly from the Bible; “hymns� were more interpretive and reflective. Whether to allow the use of hymns rather than Psalms in church was a controversial topic of the 17th and 18th centuries!
♫ Watts used Psalm 96 and 98 with Genesis 3 to create the lyrics of Joy to the World. For over a hundred years, the lyrics were sung to various Psalm tunes.
♫ Lowell Mason published our current version with the melody ANTIOCH in 1848. He attributed the melody to George Frederick Handel by Lowell. We can find several fragments of this melody in Handel’s music, there is no complete statement of the melody in Handel. And so ANTIOCH is now attributed to Mason.
♫ The Hallelujah Chorus serves as the introduction and the conclusion of this arrangement. It was first published within Messiah, an oratorio by George Frederick Handel in 1741. The lyrics were created by Charles Jennens from the King James Bible.
♫ “The Lord is come� is the present perfect tense. It seems archaic, yet the present perfect tense has a distinct meaning. It points to a current action that is sustained. It isn’t just that Christ came in the past. But that Christ came and is still here with us.
♫ music © 2017 (copyright registered in 'I See your Glory’ collection)
♫ recording ℗ 2020 Stephen R Dalrymple
♫ presentation © 2022 Stephen R Dalrymple
♫ performed by the composer
♫ This .pdf file includes 2 files: 1) Letter size piano score 2) Small page piano score for performing from a 10 inch tablet
♫ (Tell your computer which pages you want to print. There are programs online that will allow you to split pdf files so that you can choose the correct part of the pdf for your tablet.)
♫ A duplicate YouTube video in English is available under the title Joie dans le monde https://youtu.be/QrcR5GaKzW4
♫ @DalrympleDesigns.

Piano Trio Cello,Piano,Violin - Level 4 - Digital Download

SKU: A0.1142148

Composed by William Heath. Classical,Contemporary,Film/TV,Thriller. 19 pages. William Heath #742526. Published by William Heath (A0.1142148).

A Piano Trio, written for the Leeds University Union Music Society Winter Concert Series. Performed by the Hughes Trio featuring Christopher Hughes (Piano), Amy Howe (Violin), and Nikki Kemp (Cello) Programme Notes: This is a rather melodramatic piece that follows the Five Stages of Grief. I first sketched the piece for string quartet after an absolutely horrific interview at the Royal Northern College of Music. Feeling disheartened and dejected, I got home and messily scribbled on some manuscript paper An Elegy for Hopes and Dreams, and started writing this extremely over-dramatic and self-indulgent piece. I had abandoned this piece for an entire year before reviving it and writing the whole piece in just over a week and a half, now reimagined for Piano Trio. The piece starts with an atonal representation of grief before quickly moving into an upbeat Denial section which features a sort of fragile and manic sense of repression as a theme that initially sounds upbeat quickly unravels with whole-tone scales and chromatic movement. A representation of Anger is then seen with the whole trio playing the same melody with a jarring Bb in the harmony. The denial and anger sections repeat and regress before abruptly moving to a Bargaining section in which the original theme, ominously played in the lower piano and cello registers, is juxtaposed with a conjunct, major variation of the same theme in the violin. The Depression section takes the form of a cello solo as I find it to be one of the most emotive and expressive instruments and I take inspiration from Elgar's Cello Concerto, which I angstily listened to on the flight home from my aforementioned interview. A lilting and lamenting cello solo is contrasted with an atonal, aimless piano accompaniment which reflects the topic of depression. The bargaining theme reprises slightly with both strings performing the major variation before leading to the final climax. The Acceptance section sees the principal theme finally fully resolved in a major mode and with diatonic harmony. This is an expressive section as the whole trio plays the same melody with very simple yet emotive harmonic accompaniment underneath. Here the depression theme pairs with the principal theme coming to a final resolution. For individual parts for performance please contact owhcomposer@gmail.com.

Instrumental Duet,Percussion,Violin - Level 5 - Digital Download

SKU: A0.1248663

By Evelyn Glennie. By Eugene Astapov. 21st Century,Chamber,Classical,Contemporary. 26 pages. EAMUSIC #843160. Published by EAMUSIC (A0.1248663).

Composing Tiny Shattered Pieces was a truly immersive musical journey due to the sheer amount of time it took to write it and how much time I spent thinking about this piece. Since the work was commissioned before the start of the 2020 pandemic, but rescheduled for a premiere 2 years later – I could write, re-write and re-think this piece from start to finish multiple times. In the end there was enough material for a 30-minute composition, but so much of it was so different due to the different moods one would go through during a pandemic, that compiling it into 5 separate short musical statements was the most natural conclusion. 
    The music embarks on a journey of discovery, love, destruction, reconciliation, suffering, and by the end of it – war. Naturally at the end of a 2-year period a person evolves and goes through a myriad of different experiences, but few artists or composers experienced the world going through a tectonic shift from the early 2000s until now, therefore I felt it necessary to touch upon many different topics through the language of this work, including the personal and the universal. Each of the movements is a complete statement but together the movements form a larger pyramid-like structure, completing each other’s thoughts, propelling them and eventually bringing them to conclusion. 
     It should be noted that by the time I was reaching the end of the compositional process – a major war started with Russia invading Ukraine. Being a Ukrainian-born composer, the issue affected me deeply and sipped into the music by the end of the 4th movement. This is where the pyramid reaches its peak and should be appropriately shaped by the musicians.
     The piece is approximately 10 minutes in duration and is to be performed with utmost freedom, gusto and conviction. The performers must not shy away from making the sounds crunch together, piercing through the hall, but at the same time the more quiet, gentle parts should be appropriately shaped and bring much needed comfort. The work is about contrasts, outbursts of emotions, quiet sobbing, rage and solitude. 
 
The piece is approximately 12 minutes long. It was commissioned by Dame Evelyn Glennie in cooperation with Calgary's Land's End Ensemble.