C Instrument - Digital Download SKU: A0.808517 Composed by Kahn, Donaldson. Arranged by Mark W. Huxhold. Jazz. Lead Sheet / Fake Book. 2 pages. Mark Wayne Music, LLC #6211403. Published by Mark Wayne Music, LLC (A0.808517). Gig worthy! Made for the working or aspiring jazz professional, lead sheets from Mark Wayne Music, LLC is ideal for use on gigs. The lead sheets are free of eye clutter and can easily be read at a glance. All songs up to 40 measures in length are on 1 page with repeats and endings being avoided whenever possible. Other features include: 18 pt font for chord symbols - clef (treble) and key signature on the first line only  4 measure phrase per line - melody written in simple rhythms (the player is left to swing it)  Left bar lines -heavy left bar lines that infer the song form (AABA-heavy bar line at B and last A,   ABAC-heavy bar line at second A) Primary sources consulted and current performance practices considered for the arrangement Common performance keys included with each title, each key having its own page.

Easy Piano - Level 2 - Digital Download SKU: A0.1191065 By The Song Factory, Feat: Anastasia Kareva. By Julie Carter. Arranged by Julie Carter. Contemporary,Pop. Score. 5 pages. Songs of Humanity #790583. Published by Songs of Humanity (A0.1191065). A song in soliloquy form about a woman who feels unloved. The yearning for simple pleasures of being embraced and made to feel special, contrast vividly with her current empty existence. Ultimately, most of us want to feel wanted and loved. The song is written very much in the 1980s Madonna style where lyrics reach a spot like no other.

C Instrument - Digital Download SKU: A0.808280 Composed by Johnny Mandel. Arranged by Mark W. Huxhold. Jazz. Lead Sheet / Fake Book. 3 pages. Mark Wayne Music, LLC #3627079. Published by Mark Wayne Music, LLC (A0.808280). Gig worthy! Made for the working or aspiring jazz professional, lead sheets from Mark Wayne Music, LLC are ideal for use on gigs. The lead sheets are free of eye clutter and can easily be read at a glance. All songs up to 40 measures in length are on 1 page with repeats and endings being avoided whenever possible. Other features include: 18 pt font for chord symbols - clef (treble) and key signature on the first line only  4 measure phrase per line - melody written in simple rhythms (the player is left to swing it)  Left bar lines -heavy left bar lines that infer the song form (AABA-heavy bar line at B and last A,   ABAC-heavy bar line at second A) Primary sources consulted and current performance practices considered for the arrangement Common performance keys included with each title, each key having its own page. Visit us at markwaynemusic.com

Small Ensemble Clarinet,Double Bass,Vibraphone - Level 5 - Digital Download SKU: A0.1009009 Composed by William Ortiz. 20th Century,Contemporary. Score and parts. 67 pages. William Ortiz #6628671. Published by William Ortiz (A0.1009009). Rumbeando en la Melangolla is a work for Bb Clarinet, Vibraphone/Congas and Contrabass (may be amplified). Written in 2021 during the Covid pandemia, it proposes two moods: anxiety and melancholy . Yet, at the same time, there is an energetic rhythmic sub current of hope and dance.

Large Ensemble Cello,Clarinet,Flute,Piano,Piccolo,Viola,Violin - Level 3 - Digital Download SKU: A0.841258 Composed by Chris Gordon. 20th Century. Score and parts. 39 pages. Cool Wind Music Digital #3056419. Published by Cool Wind Music Digital (A0.841258). Full set of parts: Please contact Chris Gordon at the email address on the first page of music for details.IF NOT NOW, WHEN? If Not Now, When? gets its title from the novel by Primo Levi, the Italian author who both survived life in Auschwitz and fought the continued German military presence in Italy with the Resistance after the Italian surrender to the Allies in September 1943. Levi meant that revolution and the overthrow of tyranny should never be 'put off until tomorrow'. If you believe you are on the side of right, then 'seize the day'- tomorrow may be too late. The inspiration for INNW? grew from research I was doing into an early song by Alban Berg called An Leukon which Berg wrote in 1907 while a student of Arnold Schoenberg. In delving into the kind of world which Berg inhabited in the Vienna of 100 years ago, I was fascinated by the café culture* which played a pivotal role in the lives of most artists: not only composers, but also writers, painters, architects and journalists. They swirled around the fashionable 'watering holes' sucking up current thoughts and ideas, high on Viennese coffee, cigar smoke and idealism! I envisaged a play which tried to encapsulate all this and wrote a few scenes with characters such as Schoenberg, Berg, Webern, Steuermann, Pisk, Kraus, Gropius and Altenberg heatedly discussing music, art and poetry over large cups of milky coffee. This grew into the framework for INNW? which, to paraphrase Pirandello's play about characters seeking an author, is a 'play without words in several scenes'. The piece is organised into 8 short movements or 'scenes' showing the 'Schoenberg cirle' sharing their radical and daring ideas and the shock or delight (or both simultaneously) with which those ideas are greeted. The first, which happens to be the longest, is rooted in conventional tonality. It begins with a fanfare in D flat major ('aux armes, citoyens!'), then seeks a 'freer' tonality by means of the 'emancipation of the semitone' only to capitulate in the central section and, finally, to 'fall back to earth' by winding down in G sharp minor. These 'scenes' are not meant to represent particular composers. They are, however, meant to represent the kinds of directions in which music could progress, given the 'breakdown' or 'stretching to its limits' of traditional harmony which had occurred in the previous 10 to 20 years. So many ways forward were promulgated, with one after another extraordinary, and often unexpected, futuristic musical panoramas glimpsed momentarily. My aim is to demonstrate which directions they decided they could head in having cleared the 'overgrown' path before them. * I even discovered that, around this time, in the Café Central, a certain Leon (Lev) Bronstein, otherwise known as Leon Trotsky, banished by the Okhrana (Imperial secrect police) from his native Russia, would spend all day in a back room playing chess. How delicious, I thought, if Schoenberg had ever brushed passed Trotsky or, indeed, had ever spoken to him: the one planning political and the other musical revolution!

Full Orchestra - Level 3 - Digital Download SKU: A0.976734 Composed by Robert Myers. 20th Century,Christmas,Contemporary. Score and parts. 99 pages. WheatMyer Music #6496769. Published by WheatMyer Music (A0.976734). CONJUNCTION interprets the convergence of Jupiter and Saturn near the end of the year 2020 as a celestial metaphor for the good news of Christ's birth in a replay of the Star of Bethlehem. Hence, its subtitle of The Christmas Star of 2020. The music, along with narration from selected Old and New Testament scriptures, delivers a message of hope amid the turmoil and chaos of current times.It's written for smaller concert bands hungry for challenging music. Ample cues and doubling allow for flexible instrumentation while mixed meters, varying tempos and textures, and interesting solo lines provide opportunities for strong players to shine. CONJUNCTION is also available with strings for orchestra.PROGRAM NOTES:2020 is widely characterized for its maladies: murders, burning cities, riots, a pandemic, economic shocks, and political turmoil. For some of us, it also held personal tragedy such as my brother’s passing from COVID. But, 2020 also brought a sign of hope, namely the celestial phenomenon known as the Great Conjunction of 2020. For earth-bound observers, this was the closest approach of Jupiter and Saturn in almost 400 years as they appeared to almost touch in the early evening sky to produce the most brilliant evening star of our lifetimes. The occurrence of the event in November-December neatly coincided with the Advent season, peaking just before Christmas Day. One could hardly fail to note the parallels with the Christmas star of Matthew’s gospel which gave the conjunction its alternate name, the Christmas Star of 2020. Thus, this star spoke, to those with ears to hear, the same message the prophet Isaiah wrote about the coming Messiah, The people that walked in darkness have seen a great light. This star thus served to remind us that the LORD has not rejected us; He will show His favor again; His love has not vanished; His promises have not failed; He has not forgotten to be merciful or compassionate; and we are called to remember His mighty deeds (Psalm 77). CONJUNCTION: The Christmas Star of 2020 is inspired by these particulars.For the music, I looked to Gustav Holst’s The Planets for themes that would portray Jupiter and Saturn’s pas de deux. I selected several motives from the corresponding movements mixed and matched in sometimes easily recognized quotations and other times in heavily camouflaged derivations. An exuberant polyphonic passage recaps themes from both Jupiter and Saturn when the music resolves from uncertainty into hopefulness. While Holst’s motives provide CONJUNCTION’s foundation I also used Handel’s Messiah for transitory and climactic material. You will hear his The people who walked in darkness have seen a great light in transitions and a short trombone solo. And a re-harmonization of the opening line from For unto us a child is born brings the music to a joyous climax.Although the music stands firmly on its own, I elected to incorporate some narrative to make the musical sentiment explicit. In a commentary on 2020’s grim events, I took adaptations of Habakkuk 1:2-4 and 2 Tim 3:1-4 and set them over Saturn’s plodding and ominous harmonies. Contrasting replies shimmer with hope as the narration melds Isaiah 9:2 and Luke 1:78-79 over another Saturn motive set against pitch sets from Jupiter’s main hymn theme. Still, it’s the music that tells the story of the Christmas Star of 2020.Please visit my website for a complete score preview: https://wheatmyermusic.com/conjunction-the-christmas-star-of-2020I feel somewhat guilty making claim to this music as almost all the building blocks are taken from other composers. But the end result is neither a medley, nor an arrangement, rather it is something clearly new, so I call it my own with deep respect to those giants on whose shoulders I stand.Robert MyersS.D.G.

C Instrument - Digital Download SKU: A0.1078517 By Billie Holiday. By Jimmy Davis, Jimmy Sherman, and Roger Ramirez. Arranged by Mark W. Huxhold. Jazz,Standards. Lead Sheet / Fake Book. 5 pages. Mark Wayne Music, LLC #682726. Published by Mark Wayne Music, LLC (A0.1078517). Gig worthy! Made for the working or aspiring jazz professional, lead sheets from Mark Wayne Music, LLC is ideal for use on gigs. The lead sheets are free of eye clutter and can easily be read at a glance. All songs up to 40 measures in length are on 1 page with repeats and endings being avoided whenever possible. Other features include: 18 pt font for chord symbols - clef (treble) and key signature on the first line only 4 measure phrase per line - melody written in simple rhythms (the player is left to swing it) Left bar lines -heavy left bar lines that infer the song form (AABA-heavy bar line at B and last A, ABAC-heavy bar line at second A) Primary sources consulted and current performance practices considered for the arrangement Common performance keys are included with each title, each key having its own page.

Chorus - Digital Download SKU: AX.00-PO-0001817 New Light Shining - 3-Part Mixed. Composed by Mark Cabaniss, Pat Luboff, and Pete Luboff. Arranged by Alan Billingsley. Secular Choral. 10 pages. Alfred Music - Digital Sheet Music #00-PO-0001817. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0001817). UPC: 038081466736.This uplifting anthem sounds like a current radio hit---the kind you'll want to sing again and again. Its powerful contemporary pop hook makes for a perfect celebration at the beginning of the year or a fitting sentiment at the end.Concert/Contest; Recorded Acc. Available.

High Voice,Vocal Solo - Level 2 - Digital Download SKU: A0.844444 Composed by Phil Beaman. 20th Century,Multicultural,New Age,Sacred,World. 4 pages. Phil Beaman #3364773. Published by Phil Beaman (A0.844444). The current media call this style of music Spiritual Minimalism. This particular composition utilizes the centering 'ah' of Buddhism, the meditative resting periods of Zen, the plainchant of Christianity, the minimalism of New Age, and more.The lyrics quote only the first 3 phrases of the traditional Ave Maria text. These 6 words are in common across most usages regardless of region or religion or purpose and impart a broader blessing. These 6 words are interspersed throughout the piece with the Ave (Hail) high in the range for celebration, Gratia (Grace) mid-range for acceptance, and Dominus (God) low in the range for humility.The vocal range of the song is thus quite large - a full two octaves. The High version goes from a B flat below the Treble Staff to an A flat above the Treble Staff. The Low version (a third lower) goes from a low G to a high F.The accompaniment is a circling minimalist 2 chord ostinato for the entire piece.Whether for personal meditation or public performance, this piece will relax, focus, and recharge all who perform it and hear it.(4 pages, 3:45 minutes)

Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.844328 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. Arranged by Dan Cutchen. Easter,Gospel,Sacred,Spiritual. Score and part. 15 pages. Dan Cutchen Music #3115903. Published by Dan Cutchen Music (A0.844328). This arrangement of And Can It Be That I Should Gain? is for alto saxophone solo and piano.A theme and variation treatment is used.  For a piano background Mp3 track, search for: Alto Sax - And Can It Be? Theme and Variations-Accompaniment Track, Dan CutchenTime: approximately 6:00And Can It Be That I Should Gain? is a Christian hymn written by Charles Wesley. And Can It Be was written in 1738 to celebrate Wesley's conversion, which he regarded as having taken place on May 21 of that year. This beautiful hymn has been popular and enduring.And Can It Be That I Should Gain is perhaps one of the most joyfully poignant hymns penned by Charles Wesley (1707-1788). On Whitsunday (Pentecost), May 21, 1738, three days before his brother John experienced his heart strangely warmed,’ Charles was convalescing in the home of John Bray, a poor mechanic, when he heard a voice saying, In the name of Jesus of Nazareth, arise, and believe, and thou shalt be healed of all thy infirmities. The voice was most likely Mr. Bray’s sister who felt commanded to say these words in a dream.Anglican hymn writer Timothy Dudley-Smith, notes that the following then happened:Charles got out of bed and opening his Bible read from the Psalms: He have put a new song in my mouth, even praise unto our God, followed by the first verse of Isaiah 40, Comfort ye, comfort ye my people, saith your God. He wrote in his journal, I have found myself at peace with God, and rejoiced in the hope of love Christ (Dudley-Smith, 1987, 1).The statement from Mr. Bray’s sister sparked within Charles a conviction like he had never felt before. Moved and convicted in spirit, Charles wrestled with these words until he came to rest in his faith, knowing that it is by faith we are saved (Ephesians 2:8).Soon after this conversion experience, he wrote two hymns in celebration of the amazing love he had come to know: And Can It Be that I Should Gain and Where Shall My Wondering Soul Begin? (United Methodist Hymnal, 342)There has been some debate as to which hymn was written first, but most current scholarship accepts the latter as the first hymn written by Charles after his conversion experience. No matter its place in the chronology of Wesley's output, And Can It Be has been and remains one of his most remarkable hymns, expressing like no other the rapturous joy of receiving salvation.And Can It Be That I Should Gain. Hymnary.org, https://hymnary.org/text/and_can_it_be_that_i_should_gainDudley-Smith, Timothy. A Flame of Love: A Personal Choice of Charles Wesley’s Verse. London: Triangle SPCK, 1987.Timothy Dudley-Smith. And can it be that I should gain. The Canterbury Dictionary of Hymnology. Canterbury Press, accessed May 29, 2018, http://www.hymnology.co.uk/a/and-can-it-be-that-i-should-gain.Young, Carlton R. And Can It Be That I Should Gain. Companion to the United Methodist Hymnal. Abingdon Press, 1993.(Taken from: History of Hymns: And Can It Be That I Should Gain by DeAndre Johnson found at https://www.umcdiscipleship.org/resources)https://youtu.be/BSX9yYcNY2E

Cello,Instrumental Duet,Violin - Level 4 - Digital Download SKU: A0.1165711 By Stephen Sanchez. By Emily Beihold and Stephen Sanchez. Arranged by Bridie Schnore. Contemporary,Pop,Singer/Songwriter,Wedding. 4 pages. Bridie Schnore #766081. Published by Bridie Schnore (A0.1165711). This is a perfect piece for a string duo to play at a ceremony or cocktail hour. Not too difficult with a mix of melody and accompaniment in each part. This piece will add a beautiful and romantic vibe while staying current! Lean into the Bridgerton pop/classical feel.

Viola Solo - Level 5 - Digital Download SKU: A0.1164865 Composed by Patrick Prejean. 20th Century,Classical,Contemporary. Individual part. 32 pages. Patrick Prejean #765200. Published by Patrick Prejean (A0.1164865). This is a collection of all of my current works for solo viola as of January 21, 2023. This includes  the 3 dances, Reminiscence, both suites for solo viola, and my solo viola sonata.

Concert Band - Level 3 - Digital Download SKU: A0.1324650 Composed by Hans Zimmer. Arranged by Lorenzo Bocci. Contemporary,Film/TV,Lent. 63 pages. Lorenzo Bocci #912854. Published by Lorenzo Bocci (A0.1324650). CHEVALIERS DE SANGREAL from The Da Vinci Codefor Concert Band - Grade 3 - Digital Download Composed by Hans Zimmer. Arranged by Lorenzo Bocci. Film/Movie/Soundtrack. Concert Band - Blasorchester - Harmonie. Score and parts. Duration 3'51''. Published by Lorenzo Bocci.Instrumentation:Full Score, Flute 1, 2, Oboe, Bassoon, Eb Clarinet, Bb Clarinet 1, 2, 3, Bb Bass Clarinet, Eb Alto Saxophone 1, 2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, 2, 3, F Horn 1, 2, 3, 4, Trombone 1, 2, Bass Trombone, Euphonium, Bass, Double Bass, Vibraphone, Tubolar Bells, Timpani, Percussion 1 (Low Tom), Percussion 2 (Bass Drum, Cymb. a 2).Additional Parts:Bb Soprano Saxophone, Eb Horn 1, 2, 3, 4, Bb Trombone 1, 2 T.C., B.C., Bb Bass Trombone T.C., B.C., Bb Euphonium T.C., B.C., Bb Bass T.C., B.C., Eb Bass T.C., B.C.The Da Vinci Code is a 2006 thriller film directed by Ron Howard, based on the novel of the same name written by Dan Brown.Despite being a box office hit, the film was received with generally negative criticism, especially from the Catholic Church and Opus Dei (religious association mentioned in the film).The soundtrack to the film The Da Vinci Code was composed by Hans Zimmer and was released on May 9, 2006 via the Decca label. This work earned Zimmer a nomination for the 2007 Golden Globe Award for Best Original Score.Chevaliers de Sangreal is the main theme of the film's soundtrack. This piece plays at the end of the film when Langdon realizes the duality of the cryptex map and discovers the current location of the Grail, the final resting place of Mary Magdalene.

C Instrument - Digital Download SKU: A0.1152009 Composed by George Whiting and Walter Donaldson. Arranged by Mark W. Huxhold. Jazz,Rock. Lead Sheet / Fake Book. 4 pages. Mark Wayne Music, LLC #752217. Published by Mark Wayne Music, LLC (A0.1152009). Gig worthy! Made for the working or aspiring jazz professional, lead sheets from Mark Wayne Music, LLC is ideal for use on gigs. The lead sheets are free of eye clutter and can easily be read at a glance. All songs up to 40 measures in length are on 1 page with repeats and endings being avoided whenever possible. Other features include: 18 pt font for chord symbols - clef (treble) and key signature on the first line only 4 measure phrase per line - melody written in simple rhythms (the player is left to swing it) Left bar lines -heavy left bar lines that infer the song form (AABA-heavy bar line at B and last A, ABAC-heavy bar line at second A) Primary sources consulted and current performance practices considered for the arrangement Common performance keys are included with each title, each key having its own page.

Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.1028160 By Justin Timberlake. By Johan Schuster, Justin Timberlake, Max Martin, and Shellback. Arranged by Trey Lockett. A Cappella,Dance,Pop. Octavo. 20 pages. Trey Lockett #3407479. Published by Trey Lockett (A0.1028160). Originally performed by TIGEROAR, Clemson University's all-male a cappella group, this arrangement of CAN'T STOP THE FEELING! is sure to get your audience on their feet and dancing in their seats! Perfect for most all-male a cappella groups, this dynamic arrangement features one or multiple high energy soloists, a dynamic ensemble, a solid vocal percussionist, and a strong bass section. Add this hit from DreamWorks' TROLLS to your all-male a cappella group's repertoire for this season! Trey Lockett (arranger) is a Senior Performing Arts major at Clemson and the current Music Director of TIGEROAR. For more information or to contact, visit tigeroarclemson.com/trey.For more information about TIGEROAR, visit tigeroarclemson.com.