Piano,Vocal,Voice - Level 4 - Digital Download

SKU: A0.1353635

Composed by Philip Seward. 21st Century,Broadway,Chamber,Contemporary,Musical/Show,Opera. Score. 79 pages. Music Anon #938378. Published by Music Anon (A0.1353635).

Music by Philip Seward • Libretti by Joan Mazzonelli & Philip Seward

This volume offers four scenes for women singers for use in opera scene study and performance. There are a wide range of characters represented and various musical styles. The first is from High Fidelity which has been adapted from Anton Chekhov’s The Bear and George Bernard Shaw’s How He Lied to Her Husband. There are also references to Wolfgang Amadeus Mozart’s Cosí fan tutte later in the score. In this opening scene, Aurora Wentworth is practicing the mourning she believes society expects of her while her cousin, Georgina, from Milwaukee arrives to spice up the summer morning.

The second scene from Dorabella’s Daughters finds Anabella trapped in a woodsman’s cottage the day after her wedding. The opera opens at the wedding reception for her stepsister Cinderella where Annabella is particularly spiteful. In a fury, she marries the next man who walks in the room — as it happens,  a woodsman — or so she thinks. In this scene she is mourning her fate. Her younger sister, Brendella comes to visit and the two are joined later by their very happy stepsister, Cinderella.

The third scene from The Passion of John presents three women with their own perspectives on Jesus in this stylized presentation of the Gospel of John. The first singer offers the perspective of the gospel, the second presents a firsthand narrative of the Samaritan woman and the third is the woman who was accused of adultery. All three are accompanied by a women’s choral ensemble, flute, classical guitar and cello.

The final scene in this collection comes from The Proposal. The opera is composed as two loosely joined acts where the first is sung by four women and the second by three men. The action concerns the aftermath of a proposal of marriage where the woman, Eve, asks for time to consider. The unexpected response sends Sam into a bit of a tailspin. In this scene, from the end of the first act Eve is arguing with three versions of herself in the middle of the night: the romantic, the maternal and the one focused on career. The scene opens right after Eve-Romantic has just waxed poetic about the perfect fairytale romance.

Guitar,Piano,Vocal,Voice - Level 3 - Digital Download

SKU: A0.893858

Composed by David Kai. Christian,Gospel,Pop. Score. 4 pages. David Kai #5986435. Published by David Kai (A0.893858).

This song was written when heart transplants were fairly new and still in the news. The song depicts the healing ministry of Jesus brought into modern times. Since people like to put music into categories, the style could be roughly described as being country/bluegrass/synth-driven/gospel pop, which might make it pretty unique!

The song was first recorded by the Christian rock group, Whitestone and later by the Sellwoods gospel group. Both versions can be found on Youtube.

The Great Healer words and music by David Kai ©1980
I’ve had a heart transplant with a bit of a difference, it may seem rather odd
No scalpel, no surgeon, no anesthetic, just between me and God
And now a new life beats inside of me, it’s more than mere words can describe
My heart keeps time to the rhythm of the Spirit inside

Well I went fishing for the truth to life, but I opened up a can of worms
False religions and philosophies, misleading me at every turn
Well I soon realized that knowledge is fine, but it’s really just a place to start
‘Cause you can change your mind but it’s God that has to change your heart

Chorus:
Yes, he’s the great healer, in a world of pain and strife, he’s the great healer, and he can mend a broken life
 And though your hurts be too much to bear, he can heal your wounds with loving care
 And give you a new life that will never die

 So if you feel that you’ve lost all your reason to live, good and bad look the same
And you’re walking around more dead than alive, life clotting up in your veins
Just end your confusion, accept a transfusion of love from the heavenly Lord
And to your surprise you’ll find that you have been restored  Chorus:

 I’ve had a heart transplant with a bit of a difference...

Mixed choir (SATB) and organ - Digital Download

SKU: S9.Q19044

For SATB choir and organ. Composed by Joe Duddell. This edition: choral score. Choral Music of Our Time. Downloadable, Choral score. Duration 9 minutes. Schott Music - Digital #Q19044. Published by Schott Music - Digital (S9.Q19044).

Latin.

Joe Duddell’s Magnificat and Nunc Dimtis was commissioned by Presteigne Festival of Music and the Arts with funding from Kevin Jones and Laura Woodside-Jones and received its first performance by the Choir of Royal Holloway conducted by Rupert Gough at the 2011 Presteigne Festival. Duddell has acknowledged in the past that whilst composing any piece of music, problems arise that require solutions and this new setting of the “Mag and Nunc� is no different. The main challenge for a composer who is openly agnostic is the historical weight behind the liturgical text but taking both musical and philosophical inspiration from composers such as Holst and Tippett, Duddell’s setting is a joyous and uplifting one.Opening with sustained harmonies saturated with open sounding 4ths and 5ths, the music soon leads to faster passages that chase one another. The organ adds syncopation to relatively straight vocal rhythms and at other time emphasises denser rhythmic textures. The work is dedicated to George Vass.

French Horn,Piano - Level 4 - Digital Download

SKU: A0.1416182

Composed by Franz Schumbert. Arranged by Layne Anspach. Classical. Score and part. 14 pages. Songburd Music #997866. Published by Songburd Music (A0.1416182).

FRANZ SCHUBERT was an Austrian composer native to the cosmopolitan city of Vienna, colorfully called the “City of Music� as so many other non-native musicians composed or performed there, while others such as Mozart and Beethoven called it home.  While only 20 years of age in the year of 1814 Schubert composed a remarkable number of lieder (songs), drawing upon the works of many different poets of the period, which eventually connected him with the poems of Johann Goethe.  This lead Schubert in the year of 1815 to compose the well-known Erlkönig, op. 1 D. 328, based upon Goethe’s poem Der Erlköning, which was taken and revised from a widely told Scandinavian folk tale about a sinister daughter of a forest-dwelling Elf King.
 
Johann Wolfgang von Goethe was a poet, playwright and novelist who is thought to have been influenced by the Sturm und Drang literary movement, becoming perhaps one of the greatest authors in the German language whose works have had a lasting impression on Western literature to this day.  Notably, it ought to be mentioned that many of his poems were set to music by the likes of Mozart, Liszt, Wagner, Mahler, Berlioz, Beethoven and of course Schubert, who used Goethe’s poem, Der Erlkönig, to produce one of his more fanciful art songs that depicts the death of a child who is attacked by the “king of the elves,� a mystical being who lingers in the woods only to stalk little children and kill them with a touch of his hand.
 
The story of the Erlkönig is considered by some to have come from the Danish folk ballad Elveskud, and that Goethe’s variant was inspired by a work written by the philosopher, Johann Gottfried von Herder.  It tells the story of a boy who is being carried home by his father during the night, and the child hears noises and seems to see things in the woods, while the father attempts to comfort the son by explaining away the things that scare him, all the while riding ever faster on horseback, only in the end to discover that his son has died. (The Erlkönig translates literally from the German as “Alder King� rather than the commonly used “Elf King.�)

For this arrangement, German lyrics are included to assist the performer in connecting the music to the thoughts, feelings, and specific moments expressed in the words that might otherwise be lost if not aligned with the music.  Noting that changes in mood or tone of the music are better understood when aligned with the words, and by including the lyrics, the performer can phrase a passage while having a guide to see the end of the musical line.
 
Romantic lieder allows for rubato in performance, as playing the piece exactly as written on the page will result in a less inspiring rendition.  To match the horn’s register with the vocal line, the piano part required alterations by moving some notation higher in the register.

Cello,Piano - Level 4 - Digital Download

SKU: A0.1004163

Composed by Matthew Scott Phillips. 20th Century,Contemporary. Score and part. 10 pages. Matthew Scott Phillips #6318281. Published by Matthew Scott Phillips (A0.1004163).

When I was a child, my grandparents once took my brother and me to spend a day in the woods

by the Coosa River. While we were walking through the forests we came across a cave that

burrowed into the rock of a cliff face. My grandfather called it a shoemaker's cave,

but I didn't know why it was called that.

All I remember is that my brother and I wanted to go in, but my grandmother wouldn't allow it.

I've always wondered what might have been in there.

Piano Solo - Level 3 - Digital Download

SKU: A0.931510

By Vanessa Williams. By Jon Lind, Phil Galdston, and Wendy Waldman. Arranged by David Anthony. Contemporary,Soul. Score. 5 pages. David Anthony Woods #3488073. Published by David Anthony Woods (A0.931510).

This is a solo piano arrangement of the pop hit by Vanessa Willams and is my favorite song to play and listen to. There are no lyrics however but this could work nicely as a prepared piece for an intermediate piano student giving a recital. For more arrangements of this style and genre please contact me at davidanthony@davidanthonymusic.com.

Cello Solo - Level 4 - Digital Download

SKU: A0.1288214

Composed by Chris Becker. 21st Century,Classical,Contemporary,New Age. Individual part. 6 pages. Beckeresque (ASCAP) #879245. Published by Beckeresque (ASCAP) (A0.1288214).

When I first saw the enormous chair Rachel Gardner and Carlos Canul constructed for A Gift from the Bower, an outdoor, multi-disciplinary group exhibition conceived by renowned artists James Surls and Charmaine Locke, I had a vision of a cellist seated in a chair on the chair, performing solo in a bower deep in the woods of Splendora Gardens. I shared this image with Rachel, who didn’t think I was nuts, and over the course of several weeks, composed a piece for unaccompanied cello to be performed at the opening of the exhibit. I was honored when cellist Patrick Moore agreed to premiere the work; his formidable technique and the deep expression he brings to his playing inspired me to embrace the challenge of composing a solo for his instrument.

Knowing my piece would be performed outdoors, I was inspired to evoke the rhythm of sound events one hears in woods, especially the rise and fall of wind as it moves through branches and leaves. The very opening of the piece and later, what I hear as an extended coda, were created as moments for the cellist as much as for the listener and are performed in a sort of meditative state, calling to mind the age-old question, “If a tree falls in a forest and no one is around to hear it, does it make a sound?� The repeating measures of 16th notes in the piece’s demanding middle section pay tribute to two of my heroes, Terry Riley and Philip Glass. While composing the work, Bach’s Six Suites for Violoncello Solo was another important point of reference, as was double bassist Eberhard Weber's 1973 album, The Colours of Chloë.

Once finished, it made sense to name the piece A Gift from the Bower since the opportunity to compose the work was a gift, and in exchange, so is the music I have composed.

A Gift from the Bower premiered on April 22, 2023, by Patrick Moore at the Locke Surls Center for Art and Nature.

A revised version of this piece was completed on September 5, 2023.

Easy Piano - Level 2 - Digital Download

SKU: A0.691889

By Otis Redding. By Harry Woods, Jimmy Campbell, and Reg Connelly. Arranged by Mark Phillips. Pop,Standards. Score. 3 pages. A. J. Cornell Publications #5197865. Published by A. J. Cornell Publications (A0.691889).

Try A Little Tenderness for Easy Piano (after a recording by Jimmy Durante).