SKU: A0.569829

Melody: Conjunct and Disjunct - Perform, Compose, Understand Series. This pack comprises a piece called Mind The Gap, worksheets and questions which relate to the piece. It is all about understanding melodic movement and direction.

Welcome to the PCU Series for classroom-based groups. This series focuses on learning by doing; there are many accomplished performers within our school classrooms throughout the world, but my years of experience has taught me that many of these students learn to play by rote – literally be learning one note followed by another – without gaining full understanding of how the pieces work musically and theoretically. Indeed, some of them can perform to a high standard using this method, but then really struggle with composition and general musical understanding later in their educational careers.

I equate this to learning to speak sentences in a foreign language without fully understanding what those sentences actually mean.

So who is this book for?

It is for music teachers to use with their students who are learning to create exam-level compositions within a school environment. It is ideal for courses such as the American High School Diploma, GCSE, IGCSE, SCS, HKCEE, IB(MYP), SPM, GCEO, CCEF, HKCEE, VSSD, GES or ICSE.

It is designed to cater for almost any instrument due to the parts being provided in many different keys and clefs (including tab and bass tab). Drum parts are intentionally not provided as drummers still need to have a good understanding of non-percussive elements such as melody and harmony; I would suggest that they play a keyboard part for the purposes of learning about composition.

You can also download backing tracks of all pieces in this series by searching:

Classroom Performance educational pack: MELODY backing tracks

These contain parts 2-5, allowing part 1 to be played live over the top.

How to use this resource

This pack comprises three stages, the third of which should be gained from success with the first two:

1. Performing

An original performance piece is provided for mixed classroom ensemble. This piece features a musical device of some kind as its focus. There will obviously be other musical components included within the piece as well, but the main element will be very apparent.

2. Composing

Worksheets are provided to enable students to develop their own compositions based on the same focus as the performance piece. Elements of the performance piece are highlighted and short, developmental activities will lead to the students developing their own musical ideas.

3. Understanding          

Summary worksheets are provided to enable students to demonstrate their understanding of the topic.

There are two musical elements which appear in all pieces within this PCU series. They are dynamics and articulation. All performance pieces contain them and opportunity is provided to include them within the composing exercises as well.

Printing and Copying

The purchaser may print or copy all pages of this resource as required, but must not distribute to others. It is advised to produce resources for students as follows:

* Print which ever parts are needed to facilitate a performance

* Produce a booklet containing the title page, score and worksheets.

The performance piece could also be used for the performing component of your examined course as well if appropriate.

** Also look out for the other packs in the PCU Series which cover melody, rhythm, structure, texture and harmony. Multi-pack deals are also available. **

SKU: A0.569833

Melody: Ornaments - Perform, Compose, Understand Series. This pack comprises a piece called Take It In Turns, worksheets and questions which relate to the piece. It is all about understanding ornamentation.

Welcome to the PCU Series for classroom-based groups. This series focuses on learning by doing; there are many accomplished performers within our school classrooms throughout the world, but my years of experience has taught me that many of these students learn to play by rote – literally be learning one note followed by another – without gaining full understanding of how the pieces work musically and theoretically. Indeed, some of them can perform to a high standard using this method, but then really struggle with composition and general musical understanding later in their educational careers.

I equate this to learning to speak sentences in a foreign language without fully understanding what those sentences actually mean.

So who is this book for?

It is for music teachers to use with their students who are learning to create exam-level compositions within a school environment. It is ideal for courses such as the American High School Diploma, GCSE, IGCSE, SCS, HKCEE, IB(MYP), SPM, GCEO, CCEF, HKCEE, VSSD, GES or ICSE.

It is designed to cater for almost any instrument due to the parts being provided in many different keys and clefs (including tab and bass tab). Drum parts are intentionally not provided as drummers still need to have a good understanding of non-percussive elements such as melody and harmony; I would suggest that they play a keyboard part for the purposes of learning about composition.

You can also download backing tracks of all pieces in this series by searching:

Classroom Performance educational pack: MELODY backing tracks

These contain parts 2-5, allowing part 1 to be played live over the top.

How to use this resource

This pack comprises three stages, the third of which should be gained from success with the first two:

1. Performing

An original performance piece is provided for mixed classroom ensemble. This piece features a musical device of some kind as its focus. There will obviously be other musical components included within the piece as well, but the main element will be very apparent.

2. Composing

Worksheets are provided to enable students to develop their own compositions based on the same focus as the performance piece. Elements of the performance piece are highlighted and short, developmental activities will lead to the students developing their own musical ideas.

3. Understanding          

Summary worksheets are provided to enable students to demonstrate their understanding of the topic.

There are two musical elements which appear in all pieces within this PCU series. They are dynamics and articulation. All performance pieces contain them and opportunity is provided to include them within the composing exercises as well.

Printing and Copying

The purchaser may print or copy all pages of this resource as required, but must not distribute to others. It is advised to produce resources for students as follows:

* Print which ever parts are needed to facilitate a performance

* Produce a booklet containing the title page, score and worksheets.

The performance piece could also be used for the performing component of your examined course as well if appropriate.

** Also look out for the other packs in the PCU Series which cover melody, rhythm, structure, texture and harmony. Multi-pack deals are also available. **

SKU: A0.569828

Melody: Sequences - Perform, Compose, Understand Series. This pack comprises a piece called Thanks, Ludwig, worksheets and questions which relate to the piece. It is all about understanding melodic sequences.

Welcome to the PCU Series for classroom-based groups. This series focuses on learning by doing; there are many accomplished performers within our school classrooms throughout the world, but my years of experience has taught me that many of these students learn to play by rote – literally be learning one note followed by another – without gaining full understanding of how the pieces work musically and theoretically. Indeed, some of them can perform to a high standard using this method, but then really struggle with composition and general musical understanding later in their educational careers.

I equate this to learning to speak sentences in a foreign language without fully understanding what those sentences actually mean.

So who is this book for?

It is for music teachers to use with their students who are learning to create exam-level compositions within a school environment. It is ideal for courses such as the American High School Diploma, GCSE, IGCSE, SCS, HKCEE, IB(MYP), SPM, GCEO, CCEF, HKCEE, VSSD, GES or ICSE.

It is designed to cater for almost any instrument due to the parts being provided in many different keys and clefs (including tab and bass tab). Drum parts are intentionally not provided as drummers still need to have a good understanding of non-percussive elements such as melody and harmony; I would suggest that they play a keyboard part for the purposes of learning about composition.

You can also download backing tracks of all pieces in this series by searching:

Classroom Performance educational pack: MELODY backing tracks

These contain parts 2-5, allowing part 1 to be played live over the top.

How to use this resource

This pack comprises three stages, the third of which should be gained from success with the first two:

1. Performing

An original performance piece is provided for mixed classroom ensemble. This piece features a musical device of some kind as its focus. There will obviously be other musical components included within the piece as well, but the main element will be very apparent.

2. Composing

Worksheets are provided to enable students to develop their own compositions based on the same focus as the performance piece. Elements of the performance piece are highlighted and short, developmental activities will lead to the students developing their own musical ideas.

3. Understanding          

Summary worksheets are provided to enable students to demonstrate their understanding of the topic.

There are two musical elements which appear in all pieces within this PCU series. They are dynamics and articulation. All performance pieces contain them and opportunity is provided to include them within the composing exercises as well.

Printing and Copying

The purchaser may print or copy all pages of this resource as required, but must not distribute to others. It is advised to produce resources for students as follows:

* Print which ever parts are needed to facilitate a performance

* Produce a booklet containing the title page, score and worksheets.

The performance piece could also be used for the performing component of your examined course as well if appropriate.

** Also look out for the other packs in the PCU Series which cover melody, rhythm, structure, texture and harmony. Multi-pack deals are also available. **

SKU: A0.569831

Melody: Passing Notes - Perform, Compose, Understand Series. This pack comprises a piece called Missing Links, worksheets and questions which relate to the piece. It is all about understanding melodic movement and direction.

Welcome to the PCU Series for classroom-based groups. This series focuses on learning by doing; there are many accomplished performers within our school classrooms throughout the world, but my years of experience has taught me that many of these students learn to play by rote – literally be learning one note followed by another – without gaining full understanding of how the pieces work musically and theoretically. Indeed, some of them can perform to a high standard using this method, but then really struggle with composition and general musical understanding later in their educational careers.

I equate this to learning to speak sentences in a foreign language without fully understanding what those sentences actually mean.

So who is this book for?

It is for music teachers to use with their students who are learning to create exam-level compositions within a school environment. It is ideal for courses such as the American High School Diploma, GCSE, IGCSE, SCS, HKCEE, IB(MYP), SPM, GCEO, CCEF, HKCEE, VSSD, GES or ICSE.

It is designed to cater for almost any instrument due to the parts being provided in many different keys and clefs (including tab and bass tab). Drum parts are intentionally not provided as drummers still need to have a good understanding of non-percussive elements such as melody and harmony; I would suggest that they play a keyboard part for the purposes of learning about composition.

You can also download backing tracks of all pieces in this series by searching:

Classroom Performance educational pack: MELODY backing tracks

These contain parts 2-5, allowing part 1 to be played live over the top.

How to use this resource

This pack comprises three stages, the third of which should be gained from success with the first two:

1. Performing

An original performance piece is provided for mixed classroom ensemble. This piece features a musical device of some kind as its focus. There will obviously be other musical components included within the piece as well, but the main element will be very apparent.

2. Composing

Worksheets are provided to enable students to develop their own compositions based on the same focus as the performance piece. Elements of the performance piece are highlighted and short, developmental activities will lead to the students developing their own musical ideas.

3. Understanding          

Summary worksheets are provided to enable students to demonstrate their understanding of the topic.

There are two musical elements which appear in all pieces within this PCU series. They are dynamics and articulation. All performance pieces contain them and opportunity is provided to include them within the composing exercises as well.

Printing and Copying

The purchaser may print or copy all pages of this resource as required, but must not distribute to others. It is advised to produce resources for students as follows:

* Print which ever parts are needed to facilitate a performance

* Produce a booklet containing the title page, score and worksheets.

The performance piece could also be used for the performing component of your examined course as well if appropriate.

** Also look out for the other packs in the PCU Series which cover melody, rhythm, structure, texture and harmony. Multi-pack deals are also available. **

SKU: A0.569830

Melody: Question & Answer - Perform, Compose, Understand Series. This pack comprises a piece called In Conversation, worksheets and questions which relate to the piece. It is all about understanding melodic movement and direction.

Welcome to the PCU Series for classroom-based groups. This series focuses on learning by doing; there are many accomplished performers within our school classrooms throughout the world, but my years of experience has taught me that many of these students learn to play by rote – literally be learning one note followed by another – without gaining full understanding of how the pieces work musically and theoretically. Indeed, some of them can perform to a high standard using this method, but then really struggle with composition and general musical understanding later in their educational careers.

I equate this to learning to speak sentences in a foreign language without fully understanding what those sentences actually mean.

So who is this book for?

It is for music teachers to use with their students who are learning to create exam-level compositions within a school environment. It is ideal for courses such as the American High School Diploma, GCSE, IGCSE, SCS, HKCEE, IB(MYP), SPM, GCEO, CCEF, HKCEE, VSSD, GES or ICSE.

It is designed to cater for almost any instrument due to the parts being provided in many different keys and clefs (including tab and bass tab). Drum parts are intentionally not provided as drummers still need to have a good understanding of non-percussive elements such as melody and harmony; I would suggest that they play a keyboard part for the purposes of learning about composition.

You can also download backing tracks of all pieces in this series by searching:

Classroom Performance educational pack: MELODY backing tracks

These contain parts 2-5, allowing part 1 to be played live over the top.

How to use this resource

This pack comprises three stages, the third of which should be gained from success with the first two:

1. Performing

An original performance piece is provided for mixed classroom ensemble. This piece features a musical device of some kind as its focus. There will obviously be other musical components included within the piece as well, but the main element will be very apparent.

2. Composing

Worksheets are provided to enable students to develop their own compositions based on the same focus as the performance piece. Elements of the performance piece are highlighted and short, developmental activities will lead to the students developing their own musical ideas.

3. Understanding          

Summary worksheets are provided to enable students to demonstrate their understanding of the topic.

There are two musical elements which appear in all pieces within this PCU series. They are dynamics and articulation. All performance pieces contain them and opportunity is provided to include them within the composing exercises as well.

Printing and Copying

The purchaser may print or copy all pages of this resource as required, but must not distribute to others. It is advised to produce resources for students as follows:

* Print which ever parts are needed to facilitate a performance

* Produce a booklet containing the title page, score and worksheets.

The performance piece could also be used for the performing component of your examined course as well if appropriate.

** Also look out for the other packs in the PCU Series which cover melody, rhythm, structure, texture and harmony. Multi-pack deals are also available. **

SKU: A0.1158392

“Valor� offers a potent two-minute concert opener, or an attention grabber after intermission. It is also highly effective as an encore (depending on endurance, particularly of the first trumpeter and hornist), leaving the audience with a rush and energy typified by an effective encore. Besides some minor edits and formatting, the composition was completed the day I hit my ten-year anniversary of serving in the United States Air Force Bands—a fitting anthem to celebrate a decade of service to my wonderful country! The title settled the next day as I began my second decade as an Airman Musician: Valor. The best account is recorded in my personal journal on 27 April 2021: “[Valor] is the Thrower family motto from hundreds of years ago. It’s also a concept that helped get me into [Arizona State University] for my doctoral studies. [Professor] Hickman asked for a very difficult orchestral excerpt during my audition. [Béla Bartók’s “Concerto for Orchestra.�] I expressed some trepidation, but decided to give it a shot. I nailed it! Then Hickman turned to me with a big smile, ‘I give extra points for valor!’ So I’m pretty sure this little two-minute musical journal entry will keep the name ‘Valor’… as a motivational cheer for my next ten years in the Air Force. Valor! Great courage in the face of danger, especially in battle. Ok, in the face of life’s many battles, Valor it is! And on to the next ten years!� The music is in AA’BA’ form. The B section is heavily influenced by the thematic material of the A section, but with a strongly contrasting mood that could be dubbed quiet dignity. A finale section follows the last A with some motivic twists from throughout the piece, decisively ending with a power that could well be accompanied by a dazzling flurry of fireworks. None of the performers get much of a reprieve throughout the two minutes packed full of notes. The first trumpet part stays in the upper mid-range for most of it, which would absolutely sparkle on an E-flat trumpet (alternate part provided). Second trumpet is also demanding. The horn part demands a decent level of mastery in the high range as well as the low range, vehemently forsaking its traditional role of off beats. The trombone and tuba parts also present their challenges, and never really stop longer than to take a breath. Although this work could conceivably be performed without percussion, doing so is strongly discouraged. The power delivered by the snare, bass, and cymbals, and even the triangle in the B section, make the part arguably indispensable.

SKU: A0.510121

• Melody and four-part harmony parts for F instruments.

• Chords included in melody part, to encourage use of song as a vehicle for improvisation.

• In original key, so you can play along with the recording.

As a young musician, I often had a hard time finding music for me and my friends to play together. Small wonder, when I was a flutist and my closest friends in band played trumpet, baritone sax, and clarinet. Who writes for that combination?

Later, as a music teacher, I would either be approached by students in the same kind of situation or I would have an after-school ensemble consisting of something like 3 flutes, 2 alto saxes, 4 pianists, 5 drummers, a guitar, a viola, and an accordion. Now, really. Who writes for THAT combination?!

Since I am also a composer (who often finds herself writing for similarly odd instrumentation), I would simply arrange music for that combination. But not every teacher or student is comfortable with doing that or has the time to. Finally, I am sharing with you all the fruits of my labor. Let friends play with friends! Let people pick parts that they are comfortable with! Let’s play some music we love!

SKU: A0.891956

   CLARINET CONCERT CONCERTINO FOR WIND BAND

I don’t normally enter long descriptions of my arrangements, nothing worse than seeing that little sign on the bottom right saying ‘see more’, however this piece has a rather interesting story that I’d like to share with you!

It was maybe 8 or 9 years ago that I helped in the library of the Band Of The Guards Association, a group of musicians who were all members of the Household Division Bands
in London, that is to say the Grenadier, Coldstream, Scots, Irish, Welsh, Life Guards and Blues & Royals bands, chiefly known the world over for Changing The Guard at Buckingham Palace and many other ceremonial occasions.

The Band Of The Guards Association were privileged to rehearse at the Royal Hospital Chelsea, home of the famous Chelsea Pensioners, renowned for their Redcoats and medals as veterans of the British Army. Our library of music for the band at the time was held in an air raid shelter deep in the cellars underneath the labyrinthine corridors of the old building built by Sir Christopher Wren back in the 1680’s.

When I say ‘air raid shelter’, that is exactly what it was like! Can’t go into too much detail, but suffice it to say that it was like being transported back in time!

But this is where the library was kept, complete with dusty shelves, blackout warnings, obsolete bulb replacements and tunnels to the Thames!

The man in charge of the library was Mr.Gordon ‘Joe’ Stafford, former Solo Clarinet with HM Band Of The Welsh Guards (ret’d), a fine player of that instrument in his day, and revered as such even now.

About 8 years ago, our ‘underground ‘ library was deemed a fire hazard, and we were ‘invited’ to move it elsewhere.

As we had our practice room nearby in the Chelsea Hospital, we decided to relocate the whole library there, shelving being built and constructed by enthusiastic band members.

Joe Stafford and myself were not particularly enthusiastic about this, but it had to be done. Having looked at the enormous amount of music to be moved, we thought about ditching some of the scores which would never be played again, for instance selections of musicals long forgotten, scores with multiple missing parts etc.

Lots of that music went to local music organisations simply for sight reading purposes, and the more complete versions went to bands and orchestras to bolster their stock of scores.

After the laborious sorting out in the air raid shelter, Joe and I had the unenviable task of discarding the scores and parts that were incomplete, defaced, or just basically useless.

It was an arbitrary case of ‘keep or throw’, and at the time we were doing this, Joe was desperate for a pint in the bar!

I agreed, and was anyway on my last batch of throwaways when I found a piece titled ‘Clarinet Concerto’, by A.E.Williams.

Written in pencil, with ancient sellotape, and signed by all the people who played it many years ago, including the Soloist and composer, I thought that that should not be binned, so I kept it!

Joe Stafford suggested that I should ‘get it out there’ , so I have. Incidentally it has a cracking Cadenza towards the end, it was a bit smudged in the original score, but I’ve filled in the gaps!!

This would be an ideal addition to the band repertoire for Clarinet!

SKU: A0.978843

A Fanfare for three Bb Trumpets & Timpani. This was arranged from an old melody of unknown origin, for Eb Cavalry Trumpets and Kettledrums of the Queen’s Royal Irish Hussars Band, a former Northern Irish Regiment within the British Army; whose Colonel in Chief was HRH The Duke of Edinburgh. Winston Churchill was a young officer in the regiment, before the amalgamation of the 4th & 8th Hussars, to form the ’Queen’s Royal Irish Hussars’’. All cavalry regiments of the line, have a team of Cavalry Trumpets, who under the ’Trumpet Major’, play at 11am each day outside regimental headquarters, for the Regiment. Traditionally the fanfare ’stables’ would be played first; followed by another fanfare of the ’’Trumpet Major’s’’ choice. In cavalry regiments there is often a drum horse, on which the two timpani are positioned and played. An example would be the Queen’s Own Hussars, who for many years had a fine old drum horse, trained not to panic when the kettledrums were being played fortissimo! During the day, one trumpeter is on duty, and plays various trumpet calls throughout the day to signal important happenings in the regiment’s daily schedule of events. For example, Reveille is at 0630, Mess call at 0700, Mess call 1230, Guard mount 1800, Officers dress for dinner 2000, finishing with last post at 2200! There are also trumpet calls for fire, war and mucking out the horses! One morning when I was on trumpet duty in Germany at the tender age of 18, I woke up late, and just managed to play the ’’Reveille’’ trumpet call out of my bedroom window, in an effort not to be ’charged’ for missing a call! The equivalent in the Infantry would be the bugle, which is also used as a method of signaling to the regiment. This fanfare works well for three Bb trumpets and timpani. Eb cavalry trumpets are often written in the key of C, and harmonically there is no third on chord V due to the harmonics of the instrument, and the fact that they have no valves; giving a bare sounding chord. The trills in the first part are lip trills, on Bb trumpet, simply play a lip trill using the valves 1 & 3. The most famous Eb cavalry trumpeters in the British Army, are undoubtedly the trumpeters of the household cavalry, who perform in spectacular golden uniforms, complete with riding hats, at the state opening of parliament. Don’t forget Eb cavalry trumpeters are musicians from the band,(they could be clarinettists),assigned to trumpet for two to three years, not so good for your embouchure!! So when you hear a mis-pitched note in future, you know that the trumpeter could be a bassoonist, doing his or her very best.

SKU: A0.859667

Contact: sydneystevenspianostudio@gmail.com

Herbie: Emotional, heartfelt piano/vocal composed by Sydney Stevens (ASCAP). Sheet music arrangement is for piano/vocal/chords.

From  Album: Cycles of Life

Theme: What a pal, what a joyful friend. Appropriate for the loss of a loved one. Song was inspired by the loss of a pet.

Mood: Flowing, reflective, tender, comforting

Musical Traits: Strong melody, arpeggiated left hand piano, right hand reflects vocal part.

Performance Time: 2:48

Sydney Stevens music is available on: Pandora, Spotify, iTunes, Amazon, Whisperings Solo Piano Radio, AllMusic

More Links:

www.sydneystevenswatermusic.com

http://www.linkedin.com/in/sydney-stevens-532a113a 

BIOGRAPHY:

Sydney Stevens began writing melodies on the piano before she could reach the pedals. Her earliest memory was watching her mother play classical piano. She began piano lessons at the age of 8, and started composing shortly thereafter.

Stevens approaches her compositions as an artist. She paints musical portraits of the things that bring meaning to life: relationship to living things, emotional healing, discovering what matters most and honoring that as best we are able. Stevens' beautiful piano-based music aligns one with their own heart. Although some of her music can be described as New Age, her roots are heavily based in classical and jazz. Her study of classical composition makes her music more complex than some New Age music. Her music has been likened to the impressionistic composers such as Claude Debussy. Sydney's formal training is also reflected in her ability to compose for orchestral instruments. Her latest release, Cycles of Life, was solely recorded and produced by Sydney, programming all of the virtual instruments.

Sydney has a great love for jazz. Keith Jarrett was an influence on her with his innovative and improvisational piano recordings and performances. She was particularly impressed with the freedom of style he portrayed in his performances. Bill Evans was something Sydney heard played as a young child. Where her mother was a classical pianist, her father was a jazz pianist. Perhaps that's why some of Sydney’s music can be described as a crossover between classical and jazz--remnants from those early years. Joni Mitchell and Judy Collins were big inspirations for Sydney's songwriting. She was especially drawn to the deeply emotional lyrics in many of their songs.

Cycles of Life, the title track from Sydney's current release, was composed for her late step dad. The song is about the cycle of birth and death: Cycles of life go on, yet we carry all that we've known and loved through the ages. Time, another track on Sydney's current release, is a song about how time passes more quickly when we are doing something we cherish. Brian's Song, inspired by the loss of her father-in-law, reflects: All that really matters is the way we fill our heart, and the ways that it has loved. Dawn, a track from Sydney's album Seasons, is a beautiful piano-based instrumental with light string background. It portrays that very peaceful hour as the sun slowly lights up the world -- the hour of dawn.

Sydney is a poet. She sees the world through a heart that feels the joy and sorrow of the world and those she meets. Her gift is the ability to transfer that emotion into music. Listening to her music is like taking a journey. She delves into depths of emotion, often taking the listener to places that can be difficult to go without the comfort of a beautiful song to accompany them.

SKU: A0.889419

For the 2018 Chamber Music Contest Entry

Eternal Bridge was made to be performed by a group of six soloists playing the following instruments: Oboe, Harp, Violin, Viola, Cello, Double Bass.

It is not a difficult piece once learned.

It is really a great fun for the players and very easy listening too, It covers a very wide range of audience demands. There is a groove feeling on it that makes it very pleasant to most all people.

Because of its plasticity the piece allows many interpretations, therefore I did not made much use of interpretation symbols in order to leave to the performers the freedom of doing their own. Bowing and fingering are left totally virgin at the hands of the schools or the creativity of the performing Artists.

P.S. - The score was written on Finale.

The sound file For the 2018 Chamber Music Contest Entry, was performed with samplers from Garritan and conceived as an audio support for the presentation of the score.

This is the first time that this version is published in Sheet Music Plus.

Thank you very much for taking your time to read this text and to listen to the file.

I hope you have a lot of fun and enjoy the music.

Sheers!

Thanks to Claudia Eppelt for the cover design, all the Love and inspiration.

Special Thanks to Nina and Stray Queen Mimi for my Family, all their Love Patience and Compassion.

Love Forever.

„The litle story of the - „Eternal Bridge

Eternal Bridge came out of a dream. Imagine a little railway station, a train that comes and stops, and your friends go inside. As you step on the little stairs to go inside, the doors close letting you out, and the train starts rolling. It speeds up very fast and enough so you can`t jump out of the little stairs back to the ground, you are holding now to the iron bars around the doors of the train, you see your friends and the people inside but they can`t see you, they can`t hear you, and you notice that the train is now on a bridge so high, that you can`t see the earth any more. Wind is blowing around me and I feel this cosmic cold and everything starts to twist around in a gigantic spiral. I still feel the Gravity but it goes in all directions at the same time pushing me violently and I feared to fail the grip on the iron bars and fall down, in an imaginary endless abyss. Little by little the speed of the events slows down progressively until everything freezes. Now, The other side of the bridge does not exist at all, neither the beginning or up or down. The train disappeared in a glimpse and I noticed that I was not falling down, just hanging there out in hyperspace, Free from Gravity. I lost the fear of falling in the abyss, it felt kind a good, because the only thing that I could see was light, pure beautiful bright white light, I was floating in light, I realised I could stay there forever, but then I felt lonely and wanted to come back home. When I finally woke up, I wrote this words in Portuguese and made a song out of it. the words go like:

Ponte eterna abismo sem fundo - Vento ciclónico medo profundo - Comboio gelado lentidão d`aço - Espiral eterna suspensa no espaço - Maos agarram a vida duas barras d` aço - Corpo sacudido em espasmos de medo - Alucinação divina acordar de um sonho

Eternal Bridge endless Abyss - Cyclonic wind deep Fear - Frozen Train slowness of steel - Eternal spiral suspended in space - Hands cling to life on two bars of steel - Body shaken into spasms of fear - Divine hallucination waking up from a dream