Concert Band - Digital Download SKU: AX.00-PC-0017467_M1 Mallets. Composed by Randall D. Standridge. Instructional. Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0017467_M1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017467_M1). UPC: 038081519715.In recent years, Oklahoma has seen a great increase in the development of wind energy. This development in sustainable energy sources and the winds that flow across the great state serve as the inspiration for this composition. The piece begins by depicting the great open spaces that stretch for miles across the Oklahoma landscape. Small gusts of wind (represented by scalar and arpeggiated passages in the mallets and woodwinds) dance across the landscape. The piece picks up pace as the wind races across the land, turning the turbines and charging towards the future. (5:30)Concert/Contest; Festival.

Piano Solo - Level 5 - Digital Download SKU: A0.1043795 By Gordon Lightfoot. By Gordon Lightfoot. Arranged by Dean Gilbert. Folk. Score. 6 pages. Dean Gilbert #648473. Published by Dean Gilbert (A0.1043795). Forty-five years ago, on November 10, 1975 29 crew members lost their lives on the Edmund Fitzgerald sailing across Lake Superior. I took Gordon Lightfoot's beautiful song and turned it into my own piano arrangement. You will notice that the ship bell is heard throughout the song. This song is in six parts. The summon begins with the ship's bell ringing summoning everyone to gather for a story, Next is The Voyage Begins with a calm Lake Superior. The ship bell rings again announce heavy seas ahead and we are now into the next section called The Storm Begins. The bell continues to ring warning the crew of heavy waves. The next section is called The Gales of November. The intensity picks up. The bell rings with force calling for help. The next section is called The Sinking. You can hear the waves crashing into the ship as the bell continues to call for help. At the end the ship sinks as the bell continues to ring. There is one last ring as it settles on the bottom of Lake Superior. The last section is The Memorial. It is the stillness of the water after a storm with no sign of the Edmund Fitzgerald. The bell ring 29 times for each of the crew members. Enjoy.

Piano Solo - Level 3 - Digital Download SKU: A0.859686 Composed by Sydney Stevens. 20th Century,Concert,Contemporary,New Age. Score. 10 pages. Sydney Stevens, Water Music #3089231. Published by Sydney Stevens, Water Music (A0.859686). Contact: sydneystevenspianostudio@gmail.comDawn: Beautiful, dreamy instrumental that evokes compassion, comfort and warmth. Arranged for solo piano. Includes chord symbols above the staff. Composed by Sydney Stevens (ASCAP). Sounds like: Paul Cardall, John Fluker, Jennifer Thomas, Jim Brickman, Michele Mclaughlin, Greg Star, Doug Hammer, Steven Cravis, Rachel Currea, Laura Sullivan, A la Windham HillFrom Album: Seasons Theme: Music that portrays the peaceful hour of dawn.Mood: Peaceful, romantic, meditative.Musical Traits: Left hand rhythm is a repeated broken chord pattern throughout the piece. The right hand plays a strong, but simple melody. Contemporary Classical (tonal with strong themes), New Age acoustics, Romantic, Easy listening.Performance Time: 6:42Sydney Stevens music is available on: Pandora, Spotify, iTunes, Amazon, Whisperings Solo Piano Radio, AllMusicMore Links: https://sydneystevenswatermusic.com/https://www.linkedin.com/in/sydney-stevens-532a113a/ Review of Seasons CD by Kathy Parsons (mainlypiano.com):Seasons is a beautiful collection of original pieces by pianist/composer Sydney Stevens. Some of the pieces are solo piano and others feature duets with Mitch Iimori on English horn, oboe, and guitar (but not all at the same time!). The two musicians are obviously exceptionally comfortable and in tune with each other, and the results can be stunning. Very classical in scope and structure, the music is reflective of the natural surroundings of Ms Stevens’ home in the Colombia Gorge region of northern Oregon. The first eight of the fourteen tracks make up the Seasons Suite, a group of lyrical compositions inspired by the various times of year in a remote area of eastern Oregon. The other six pieces also have themes of nature and serenity.The Seasons Suite begins with Colors Change, obviously about the transition of summer into fall, but also about the concept of change as we grow. Reflective and subdued, the interplay between Stevens’ piano and Iimori’s oboe is effortless and flowing. Autumn Wind picks up the pace a bit, but continues the easy flow, bringing images of leaves swirling in the ceaseless wind of that area. Signs of Winter is a bit darker and more mysterious. Iimori is a big fan of Paul McCandless, and that musician’s influence is very strongly heard in these first three pieces - a very good thing!In Clouds, Iimori switches from oboe to English horn. This duet with the piano is a dramatic musical depiction of the gathering clouds and anticipation of a coming thunder storm. I really like it a lot! Snow is tranquility set to music. Sparrow’s Song brings us to the beginnings of spring - the freshness in the air, and the joyful songs of birds in the yard. July reflects the laziness of a hot summer day. Season’s Reprise brings together the themes from the various seasons, creating a lovely closing to the Suite. On Summit, Iimori trades his woodwinds for guitar in a gentle, sweeping duet with the piano. Waning Star is a gorgeous piano solo that has a peaceful grace and quiet serenity - a favorite. Reach For the Stars is a piano solo that has an uplifting sense of moving forward and reaching out. Dawn closes the CD with a warm and soothing confection. The piano is accompanied by light percussion, bass, and washes of synth strings. Full of hope and optimism without being sugarcoated, this piece is spellbinding in its gentle way.

Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1148567 Composed by Music by Richard Milburn. Arranged by F. Leslie Smith. Country,Folk,Historic,Traditional. 27 pages. Sweetwater Brass Press #748729. Published by Sweetwater Brass Press (A0.1148567). Listen to the Mocking Bird was first published in 1855. The melody originated with Richard Milburn, a Philadelphia African-American who has been described variously as a panhandling busker and as a musically inclined barber. A songwriter and publisher by the name of Septimus Winner heard Milburn's tune, arranged it, added words, put it into print and claimed credit for its creation under the pseudonym Alice Hawthorne. Supposedly, Winner sold the rights to the song for five dollars. Listen to the Mocking Bird grew to be one of the most popular songs of the mid-19th century, a real hit. Its sheet music, by one estimate, sold more than 20 million copies. It was sung and performed particularly often during the Civil War, and troops used its melody as a marching tune. It remains somewhat of a standard and has been recorded numerous times, especially as a favorite of bluegrass musicians. In the lyrics, the singer is remembering his loved one. She has passed away but he recalls their good life together. They particularly enjoyed the call of the mocking bird, which even now is singing o'er her grave. This arrangement opens in E-flat major with Trumpet 1 introducing the sweetly sad melody, I'm dreaming now of Hally. After the introduction, the tempo picks up to allegro and whirls along. It does slow down several times, and there are four one-measure deviations from the 4/4 time signature: one 6/4, two 2/4s and one 1/4. At measure 65, the key changes to B-flat major for the finale. Trumpets 1 and 2 each play one A-above-their-staff eighth note as their highest pitch; the rest of the music stays well within the normal playing range of the five instruments. Completed in 2022, performance time runs about 3 minutes, 23 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge. He would like to receive your suggestions, comments, corrections and criticisms. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box. (Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt directly to him at lessmith61@bellsouth.net.)

Choral Choir (2-Part) - Level 2 - Digital Download SKU: A0.630289 Composed by Traditional. Arranged by Stephen DeCesare. Christmas,Jazz,Standards,Traditional. Octavo. 9 pages. Exultet Music #6431751. Published by Exultet Music (A0.630289). The traditional Christmas song has been freshly arranged for a 2-part choir (Soprano and Tenor) with Piano accompaniment. This arrangement starts like a tender chorale with very lush, jazz harmonies and then picks up to a lively big band/jazz accompaniment. Accessible and appropriate for any school, church or concert setting. An accompaniment track is also available.  .

Choral Choir (3-Part) - Level 1 - Digital Download SKU: A0.1268719 Composed by Traditional Spiritual. Arranged by Michael Sandvik. Children,Sacred,Spiritual,Traditional. Octavo. 11 pages. Michael Sandvik #861247. Published by Michael Sandvik (A0.1268719). This arrangement for children’s choir is truly delightful and impressive, and yet quite accessible. After an introspective beginning with solo (or small group), the tempo picks up and the choir sings in unison over a fun but not showy piano accompaniment. Following two verses and choruses, the choir begins layering part by part until a grand climax is reached in three treble parts plus a descant solo (or small group). This piece is sure to please a crowd and singers, and yet maintains the dignity and spirituality inherent in the Spiritual.

Piano,Voice Duet Piano,Voice - Level 3 - Digital Download SKU: A0.780566 Composed by Jerome Kern, Buddy DeSylva. Arranged by Cathy Stamegna. Broadway,Film/TV,Jazz,Musical/Show,Standards,Traditional. 8 pages. Cathy Stamegna #5002649. Published by Cathy Stamegna (A0.780566). The song begins with the traditional melody and thought-provoking lyrics by Jerome Kern and Buddy DeSylva. As the tempo picks up on the repeat, the piano continues in a traditional manner, complemented with a bit of vocal improvisation. 

Bass Voice,Drum Set,Electronic Keyboard,Piano - Level 2 - Digital Download SKU: A0.1416726 By S Club 7. By Eliot Kennedy, Mike Percy, S Club 7, and Tim Lever. Arranged by Katherine Burr. 20th Century,Children,Contemporary,Pop. Accompaniment. Duration 212. Katherine Burr #998389. Published by Katherine Burr (A0.1416726). This is a backing track for the 2 part choir arrangement of the same title. It features a slowed introduction, played only by piano, then picks up with the full band at the end of the opening chorus.See YouTube link below for full song.

Brass Ensemble,Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1495797 By JACOB L WALKER. By Traditional. Arranged by JACOB L WALKER. Chamber,Christian,Christmas,Jazz,Traditional. 17 pages. 8 Steps Music LLC #1072326. Published by 8 Steps Music LLC (A0.1495797). Imagine a brass quintet performing Angels We Have Heard on High with a lively jazz twist. The arrangement starts with a traditional introduction, the warm, rich tones of the brass instruments setting a festive mood. As the piece progresses, the tempo picks up, and the arrangement shifts into a grooving 7/8 rhythm, with syncopated beats and playful melodic lines. As the piece reaches its climax, the entire quintet comes together for a powerful, harmonized finale, bringing the carol back to its roots but with a fresh twist that leaves the audience delighted.

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.743291 Composed by Johann Schrammel. Arranged by Josef STASTNY. 20th Century,Concert,Instructional,Pop,Standards. 6 pages. Josef STASTNY #3233729. Published by Josef STASTNY (A0.743291). A typical old Austrian March (Vienna remains Vienna). Nice very popular melody played mostly by wind orchestras. A typical Schrammelmusik ensemble consists of two violins or fiddles, a double-necked contraguitar, and a G clarinet (also known in Austria as a picksüßes Hölzl). Often a button accordion, called a Schrammelharmonika, is included.This arrangement is for brass quartet.Some other SAX quartets arrangements:http://www.sheetmusicplus.com/search?Ntt=josef+stastny+saxwww.STASTNYJOSEF.cz

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1012866 Composed by Music Joseph P. Holbrook, Words Charles Wesley. Arranged by Dean H Hamill. Christian,Sacred. Octavo. 6 pages. D H Hamill #5770283. Published by D H Hamill (A0.1012866). Arranged for S.A.T.B. Choir with Piano Accompaniment.  This arrangement brings refreshing harmonies and voice leading to a much loved and traditional Christian hymn.  It starts quietly, then picks up intensity with the piano accompaniment helping to drive it rhythmically to an exciting last chorus with the men and women echoing parts.  Then, it returns in the final measures to the quite feeling in the beginning. It is appropriate for any worship service and very singable by high school ages. Duration is 3 min 15 sec.

Tpt. Pft - Intermediate-Advanced - Digital Download SKU: F2.FM410 Composed by Otto Martin Christensen. Trumpet and Piano. Score and Part. 9 pages. Forton Music - Digital #FM410. Published by Forton Music - Digital (F2.FM410). ISBN 9790570483099.As the title suggests, 'Rise Up!' starts with an ascending figure in the trumpet part, which climbs up to high concert B flat. It makes use of jazz trumpet techniques, like the shake, fall and doit, and the piece as such has a distinct rhythmic verve. It calms down in the middle section though, where it picks up the initial phrase of the hymn tune 'Thine Be The Glory', which is woven into the ascending figure which comes back in the concluding part. 'Rise Up!' may be used as a short, stand-alone concert piece, where the trumpet player is given an opportunity to display his technique and stamina in the upper register. With it's celebratory character, the piece will also fit in at festive occasions like weddings.

Concert Band - Level 3 - Digital Download SKU: A0.799420 Composed by Drake Mabry. 20th Century,Contemporary. Score and parts. 77 pages. Drake Mabry #516755. Published by Drake Mabry (A0.799420). Arnage is a commission, a 1991 Commande d'Etat from the French government. The work is named after the town in which it was premiered. The first movement is slow and atmospheric with the solo trombone weaving in and out of the accompaniment. Despite a short interlude where the tempo picks up followed by a cadenza, the piece returns to the original quiet and atmospheric nature of the beginning. The second movement is vigorous and dynamic. The animated trombone is punctuated by rhythmic comments from the ensemble. The work winds down to a quiet passage before being taken back by the vigorous ensemble. This continues to the wild coda to the end. The duration is 12 minutes. This is a manuscript score, thus the reduced price.The Premiere was by Pascal Renou, trombone, with the Harmonie Municipal d’Arnage conducted by Francis Rouillard in Arnage, France on June 12, 1992.

Piano - Digital Download SKU: A0.1052949 Composed by Traditional. Arranged by Stephen DeCesare. Christmas,Jazz. Accompaniment. Duration 165. Exultet Music #6430449. Published by Exultet Music (A0.1052949). The traditional Christmas song has been freshly arranged for a variety of arrangements. The piece starts like a tender chorale with very lush, jazz harmonies and then picks up to a lively big band/jazz accompaniment. Accessible and appropriate for any school, church or concert setting.

Instrumental Duet Cello,Double Bass,Instrumental Duet - Level 1 - Digital Download SKU: A0.841356 Composed by Jean-Baptiste Breval. Arranged by Yuriy Leonovich, Michele Galvagno. Classical,Instructional,Standards. Score and parts. 106 pages. Artistic Score Engraving di Galvagno Michele #6029285. Published by Artistic Score Engraving di Galvagno Michele (A0.841356). Jean-Baptiste Sebastien Bréval (1753-1823) was a French cellist and composer, who is, perhaps, best known for his cello sonatas, namely the ones in C major (Op. 40, No. 1) and G major (Op. 12, No. 5). Bréval was one of the last students of the cellist and composer Martin Berteau (1691-1771), continuing his teacher’s tradition of composing sonatas for cello with bass accompaniment. With both composers, the bass part was to be played by a second cello, very likely by the cello teacher. Many cellists opt in to have Berteau’s unfigured bass part realised by a harpsichord. However, the two-cello layout was common in the late Classical Era, especially in method books, such as Bréval’s own Traité du violoncelle (where Bréval states that the bass and the cello are one and the same), as well as Romberg’s, Dotzauer’s, et al. Romberg and Dotzauer even composed sonatas for cello and basso (second cello) accompaniment as well, Op. 43 and Op. 103, respectively. Our current publication presents student cellists with a beautifully engraved edition of Bréval’s 6 Cello Sonatas, Op. 28 and Air de Malborough, Op. 13. Bréval composed the Sonatas in c1795, most likely in conjunction with Op. 40, since Op. 28, No. 1 picks up right where Op. 40, No. 6 leaves off. Whereas Op. 40 and Op. 28, Nos. 1-4 are in two fast movements, Op. 28, Nos. 5 and 6 include a slow middle movement, No. 6 even using the thumb. The autograph, which the editor used as the primary source, and the first edition both present each sonata on four pages in score form. Our volume includes a score and parts for each player. The cello part includes fingering and bowing suggestions by Yuriy Leonovich. Each sonata begins with an Allegro movement in sonata form. The finales vary from five-part rondos (Nos. 1, 3, 5), to sonata form (Nos. 2, 6), to theme and variations (No. 4). The slow movement of No. 5 is in simple binary form, and No. 6 is in simple ternary. The six keys Bréval used for Op. 28 are the same as the ones he used for Op. 40, only in a different order. Op. 40 uses the following order: C, F, G, B-flat, A, D. Op. 28 uses the following order: D, C, A, G, B-flat, F. The Op. 28 sonatas are primarily written in tenor clef, whereas Op. 40 is primarily written in bass clef. The playing range is identical for both sets, with the exception of the high B-flat in m. 46 in the slow movement of No. 6, and high B and C in m. 37 of the finale of No. 6. Bréval explores more advanced bow techniques as well.