Brass Quintet - Level 4 - Digital Download

SKU: A0.1489487

Composed by Dr. Daniel N. Thrower. 21st Century,Chamber,Classical,Historic,Multicultural,World. 28 pages. Https://gildedmusicpress.com/ #1066350. Published by https://gildedmusicpress.com/ (A0.1489487).

One of my last assignments as an Air Force musician before being stationed in Japan was to perform music in support of the 50th commemoration of what has become known in America as “Vietnam Memorial Day.”  It is observed on March 29 every year, the date when the last U.S. troops withdrew from Vietnam in 1973.  After the memorable ceremony in 2023, I lingered to talk with those mature veterans and to hear some of their experiences.  It was a strange feeling when I told them that my first assignment at my new duty station in Japan would be a series of cultural exchange performances in Vietnam.  What a somber generational bridge.

I was only in Japan for a matter of days, including some intense rehearsals, before Pacific Brass (the brass quintet from the U.S. Air Force Band of the Pacific) packed up and headed to Hanoi to start our brief musical outreach in three cities.  My reflections were sobering as I contrasted my military service in Vietnam with the veterans whom I had just honored three months prior.  During some off-duty time, all five of the Pacific Brass military musicians found our way to the well-known Hòa Ló Prison, infamously known as the “Hanoi Hilton.”  Indeed, how vastly different was my brief military service in Vietnam!

To the Vietnamese people, the “American War,” as they call it, is ancient history.  They are extremely forward-thinking, putting those dark years far from them, looking to the bright future that is theirs.  What an educational bridge of paradigms.  Although it was important for us as U.S. Servicemembers to witness the Hòa Ló Prison firsthand, our lot was to experience the beautiful present-day Vietnam with its rich culture of food, street shops, temples, dance, music, and other wonders that awed us all—including gongs!

Our trombone player purchased a gong in a shop that sold little else besides gongs of all sizes and pitches.  That struck me as quintessentially Vietnamese, and the sights and sounds of that modest shop lingered in my imagination.  As we absorbed the extraordinary majesty of the Temple of Literature in Hanoi, ideas for this musical composition started to formulate as a bridge connecting American musical culture with Vietnamese traditional gongs.  For practicality in both notation and live performance, I scored the consort of 18 glorious “gongs” in my head for orchestral tubular bells.  It is a passionate hope that someday in a video presentation, a masterful cultural bridge of the two diverse countries will be crafted.  Better yet, what an experience it would be to have a legitimate gong consort perform live with Pacific Brass!

The year of our visit, as we were coached many times by the Embassy’s Attaché, was a milestone landmark between the two nations, worthy of praise and celebration: the ten-year anniversary of the U.S.-Vietnam Comprehensive Partnership, signed by Presidents Obama and Sang in July 2013.  This bilateral relationship has bridged both nations’ commitment to economic engagement, cultural exchange, tourism, education, and human rights.  This composition is in celebration of this Comprehensive Partnership and a gift to the wonderful people of Vietnam.  May this music contribute to a continuing growth of positive relations bridging the two nations.

Large Ensemble - Level 3 - Digital Download

SKU: A0.569831

Composed by Austin Ralphson. Instructional. Score and parts. 57 pages. Austin Ralphson #4626517. Published by Austin Ralphson (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. **

Large Ensemble - Level 3 - Digital Download

SKU: A0.569833

Composed by Austin Ralphson. Instructional. Score and parts. 52 pages. Austin Ralphson #4628387. Published by Austin Ralphson (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. **

Large Ensemble - Level 3 - Digital Download

SKU: A0.569830

Composed by Austin Ralphson. Instructional. Score and parts. 87 pages. Austin Ralphson #4603377. Published by Austin Ralphson (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. **

Large Ensemble - Level 3 - Digital Download

SKU: A0.569828

Composed by Austin Ralphson. Instructional. Score and parts. 50 pages. Austin Ralphson #4596427. Published by Austin Ralphson (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. **

Large Ensemble - Level 3 - Digital Download

SKU: A0.569829

Composed by Austin Ralphson. Instructional. Score and parts. 52 pages. Austin Ralphson #4600767. Published by Austin Ralphson (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. **

Piano Solo - Digital Download

SKU: A0.901081

Composed by Paul Copeland. 20th Century,Contemporary. Score. 50 pages. Paul Copeland #5988217. Published by Paul Copeland (A0.901081).

Audacious Binary Forms for pianist playing one or two pianos, won Australia’s most prestigious piano composition competition the Jean Bogan Prize for Piano Composition 2016.

The world premiere was performed by Michael Kieran Harvey. He is considered by many as being one of Australia’s greatest living concert pianists. Michael specializes in performing world premieres of compositions by Australian composers. He is also a prolific composer of avant-garde music.

ABSTRACT FROM THE GENERAL DIRECTIONS

Audacious Binary Forms for piano is in a fractured binary form. Two types of structures exist; lettered structures, which are experimental structures, and explore the sonorities of the piano, and numbered structures, which are more traditional structures. A structure may be a single page or more than one page. Each page in a structure is to be played sequentially. For example, with structure C, consisting of three pages, C1, C2, C3, each page is played sequentially in numerical order, C1, C2, C3.

EXPERIMENTAL STRUCTURES

The structures A, B, C, D, E, F, G, Percussion, CADENZA, and CODA are experimental.

TRADITIONAL STRUCTURES

The structures 1, 2, 3, 4, 5, and 6, are traditional.

PREPARING THE SCORE FOR PERFORMANCE

There are four different options for a performance.

MINIMALIST OPTION

The 13 cards cut from the CUTOUT page are shuffled. Card 4 Rag (1,2) is removed.  The 12 cards are placed face down. One card is revealed representing the structure that is to be performed. A member of the audience can be invited to shuffle the cards.

STOCHASTIC OPTION

An audience member or members can be invited to shuffle all the pages of the score. The resultant random sequence of pages becomes the whole score for the performance.

PERFORMER’S OPTION

The performer prepares the structures according to his musical tastes. All of the experimental structures should be performed. The performer is free to play none, some, or all of the traditional structures. Please note that each structure remains an independent structure and is played sequentially. For example, structure C, consisting of three pages would be played C1, C2, C3 in that order.

PERFORMER/COMPOSER OPTION

Months before the concert the performer can contact me at paulcopeland1@bigpond.com, to discuss the performance, and to work out an ideal performance structure for the work, taking into consideration the venue, expected size of audience, size of auditorium, music program, and if two pianos will be available.

IMPORTANT INFORMATION REGARDING SHEET MUSIC SIZE

Please note that the score should be printed on separate pages (the notated pages), not back to back. Ideally the score should be printed on A3 pages in colour. However the score can still be printed in grayscale. 

The sheet music file is approximately 15Mb because the score is in full color. 

BIOGRAPHICAL INFORMATION

Paul Copeland is an award-winning multi-genre composer, graphic artist, programmer, teacher, and author, based in his home city of Melbourne. His compositional styles range from neo-classical, jazz, ragtime, and musical theatre to electronic, avant-garde, post-avant-garde, and experimental music.

Born in 1947, Copeland grew up an only child in a musical household. His mother was a talented singer, his father an accomplished amateur pianist, composer of popular music, and internationally renowned travelling telepathist known as Argus The Boy Prophet. Copeland's musical studies commenced at the age of 16 when he began studying piano, and a year later, he enrolled at the Melba Conserv.

Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erstveroffentlichung, Festspiel, Oper. Wagner Urtext Piano/Vocal Scores. Downloadable. Schott Music - Digital #Q25919. Published by Schott Music - Digital

Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erstveroffentlichung, Oper, Theater. Wagner Urtext Piano/Vocal Scores. Downloadable. Schott Music - Digital #Q17853. Published by Schott Music - Digital

A Clarinet,Bassoon,Cello,Double Bass,Flute,Horn,Oboe,Viola,Violin - Level 4 - Digital Download

SKU: A0.1358397

Composed by Juozas Žilevi�ius. Arranged by Kazys Daugėla. 20th Century,Classical. 162 pages. Kazys Daugela #942837. Published by Kazys Daugela (A0.1358397).

Juozas Žilevi�ius (1891–1985) was an organist, composer, educator, and researcher in the history of music. In 1919, when graduating from the Petrograd Conservatory, he composed Symphony in F minor, the first Lithuanian composition in this genre. Upon his return to Lithuania in 1920, Žilevi�ius worked in various musical life spheres of the young republic: he took part in the activities of the Society of Lithuanian Art Creators, contributed to the establishment of Kaunas Opera House, worked for several years as the head of the Art Department at the Ministry of Education, prepared the first music curricula for secondary schools and progymnasiums, conducted courses for music teachers, taught at music schools in Kaunas and Klaipėda, published a musical periodical, and initiated the first Lithuanian Song Festival. 
Musicologist Danutė Petrauskaitė managed to bring copies of three-movement Nonet for strings and wind instruments  from Chicago to Lithuania. Žilevi�ius started writing it in December 1924. The composition was apparently inspired by the Czech Nonet members, working at Klaipėda School of Music, who had been invited by its director Stasys Šimkus from Prague. This was a lively and youthful group that gave concerts all over Lithuania. It amazed audiences with its high artistic level and set an example for students, encouraging them to form various ensembles. The repertoire of the Czech Nonet consisted mainly of works from the Classical and Romantic eras. There were few contemporary compositions, and therefore the Czech Nonet performers turned to composers with a request to write new works for them. They might have discussed the matter with Žilevi�ius with whom they maintained a close relationship, as they did later with Lithuanian composer Jeronimas Ka�inskas.
Žilevi�ius finished writing Nonet on 15 November 1926. All three movements were based on the intonations of Lithuanian folk melodies. The first movement (Andante. Allegro moderato) imitatively developed the motifs of the song “Autumn will Come�, while the second one (Andante cantabile) featured fragments of the song I Rode through the Wood�, and the third one (Allegro) of the song “Oh, you Bird Cherry�. The composition was written professionally, it should have been attractive and interesting for the performers, but, unfortunately, it was never performed. The reasons for this could have been various: disagreements between the director of  Klaipėda Music School, Šimkus, and his deputy, Žilevi�ius, as well a the Czech teachers’ falling into disgrace and starting to resign from their teaching positions in the autumn of 1926. A few years later, Žilevi�ius also resigned from the school: in January 1929 he left for the USA and settled in Elizabeth, New Jersey, where he worked as a church organist. He also brought his Nonet from Klaipėda, hoping that this work would be heard in America. To this end, he found transcribers who made instrumental parts from the score. As it turned out, there were few Lithuanian instrumentalists in the USA, and Žilevi�ius did not have close relations with Americans. Thus Nonet, which the composer regarded as one of his most successful compositions after his Symphony in F minor, sank into oblivion. 
Thanks to Kazys Daugėla, an opportunity appeared to edit and digitise it after the sheet music of Nonet had arrived in Lithuania. This work reveals the origins of the Lithuanian musical culture, enriches the repertoire of chamber-instrumental ensembles, broadens music education curricula, inks the name of Žilevi�ius, the author of both the first Lithuanian symphony and of the first nonet, in the history of music, and contributes to the preservation and fostering of the Lithuanian musical heritage.

by Prof. Dr. DanutÄ— PetrauskaitÄ—.

Easy Piano - Level 1 - Digital Download

SKU: A0.1010932

Composed by Mark Kieswetter, Gregor Rice. Arranged by Kieswetter~Rice. Broadway,Christmas,Film/TV,Musical/Show,Pop. Score. 4 pages. Gregor Rice Publishing #2919583. Published by Gregor Rice Publishing (A0.1010932).

Kieswetter~Rice: Mark Kieswetter & Gregor Rice have been writing beautiful music since the early 1980s, highly awarded and dearly loved.  This is just one of them, finally recorded 2016.  

We can be contacted via Gregor Rice: ieshea@frontier.com or Mark Kieswetter: mkieswetter@gmail.com and on FaceBook, our PRO is BMI, Published via Gregor Rice Publishing, on the RiceSound label.  Get more backing tracks as well as the original song in vocal, instrumental and backing tracks at www.broadjam.com/atchristmastime

Like all our work, it's most appropriate for any public performance; stage and screen, TV/film, Broadway, church, schools, universities, military offerings, or solo, this, a holiday selection, warm and cozy.  This rendition is in the key of Ab.  Music: Kieswetter~Rice, Lyrics: Rice   Sheet music by Prof. Mark Kays, Chair/Dept. of Music, Trine University.

It most certainly brings at least a few minutes of peace and comfort to all who sing and hear.  Encoded with many blessings, it could be at least a temporary solution to the world peace problem, or so we'd sincerely intend it to be.  If enough people would jump on the bandwagon, so to speak, it could easily blanket our entire Earth and all Her people with peace and comfort, safety and relief, and feeling a sense of home, whether home... or not.  Looking at the big picture, if you're on Earth, you're 'home.'  Find all our comforts of home here: www.atchristmastime.tarajories.com 

So far, we offer the sheet music available here in 2 keys, Ab the original, and easier play, D in both lead/lyric sheet and vocal with piano accompaniment formats.  Forthcoming, will be the entire score following the full recording due out holiday season 2016.  Additional mp3 renditions and styles in at www.broadjam.com/atchristmastime

In 3/4 time at 96 BPM it offers 3:42 minutes of comfort, relaxation, and a serious sense of relief.  Notice for yourself.  

You can also sing along with any of our Karaoke tracks in various styles & keys at broadjam.com/atchirstmastime and  post your rendition to YT!  What a surprise homecoming gift this would be!  Need a new key?  RSVP.  We'll upload it.  

Either way, look for a special blessing for yourself or gift it to someone, each time you sing it.  Sink into its sense of safety, comfort, peace, and joy, and feel at home wherever you are, whenever you sing or listen to this song. Let's blanket our entire Mother Earth with peace and plenty, safety, love, warmth, and healing for a maxed-out planet and a maxed-out people with this gifted song.  Remember to envision et al blanketing Mother Earth, all the people, flora and fauna, in a warm fuzzy blanket of love, peace, and healing every time.  

In performance practice sessions, take a selfie or groupie before, notice your state, and your aura if you see them, and again after your practice session, just for grins.  Notice what you notice, and see as well as feel the difference.  Post your extraordinary results to FB & YT.  It isn't just music anymore, Toto.

Historical content?  Actually written in 1984 in Maumee, OH, this song was officially copyrighted in 1986.  1987 Gregor was whisked out of state to a new locale where attendance to making a living else wise became the mode o' day like most compose/lyricists.  Mark, one of the most gifted jazz artists on the planet, continued his dailies teaching, gigging, and studio work.  Many beautiful songs fell through the cracks while Gregor, and equally gifted composer~lyrici.

By Whitney Houston. Arranged by PianoSheetNow. Score, Sheet Music Single. 10 pages. Published by PianoSheetNow

Clarinet - Digital Download

SKU: IZ.9780976508106

Composed by Phillip Paglialonga. Score. 111 pages. Imagine Music - Digital #9780976508106. Published by Imagine Music - Digital (IZ.9780976508106).

9 x 12 in inches.

Squeak Big teaches aspiring clarinetists the fundamentals necessary for success on the instrument through conceptual development and practical exercises. It will undoubtedly become an important resource for aspiring clarinetists and educators worldwide.


For years, Dr. Paglialonga has helped his students improve by creating exercises and explanations to address fundamental playing issues. These materials circulated throughout the clarinet community, leading to numerous requests for materials to address other specific problems. Squeak Big answers those requests, making these materials available to a wider audience in a simple, easy-to-use format.

Squeak Big is filled with healthy, concise, no-nonsense advice, as well as some great tips and tricks. I would recommend it to anyone wanting to advance their relationship with the clarinet. (Samuel Caviezel - Associate Principal Clarinet, Philadelphia Orchestra)

Squeak Big is a wonderful resource for student and teacher alike. In it, Dr. Paglialonga provides helpful insights on clarinet playing from the fundamentals of producing a beautiful sound to hints on practicing in real life situations. His methodical approach helps to demystify clarinet playing and is geared towards helping improve both technique and musicianship. A must-have for any clarinetist's library! (Benjamin Lulich - Principal Clarinet, Cleveland Orchestra)

Squeak Big is full of useful information. I highly recommend it to anyone who's looking for practical ways to become a better clarinetist! (Alexander Fiterstein - Prominent International Soloist)

I would recommend Squeak Big to anyone wanting to improve or better understand the fundamentals of sound clarinet playing. (Carey Bell - Principal Clarinet, San Francisco Symphony)

Phillip Paglialonga has written a thoughtful and detailed treatise on playing the clarinet. He communicates from a thorough knowledge of the instrument and its workings. This volume is a valuable reference for teachers and performers alike, replete with numerous practical suggestions and exercises. If only every clarinet player could digest the information Dr. Paglialonga sets forth herein, good solid foundations would be formed and bad habits easily prevented. (John Bruce Yeh - Assistant Principal Clarinet, Chicago Symphony)

Squeak Big provides valuable advice for players at every stage of development, with easy practical methods, useful exercises, and even a bit of historical context. I've already been able to incorporate many of these ideas, not only into my teaching, but also into my own playing! (Ralph Skiano - Principal Clarinet, Detroit Symphony)

Squeak Big is excellent and I'm sure it will be of great value to many players. Phillip Paglialonga explains so many of the fundamentals in a very clear, concise way. Bravo! (Larry Guy - Prominent Pedagogue).

Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download

SKU: A0.1158392

Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,Patriotic. 19 pages. Https://gildedmusicpress.com/ #758673. Published by https://gildedmusicpress.com/ (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.

Double Bass,String Bass Solo - Level 5 - Digital Download

SKU: A0.869156

Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Individual part. 44 pages. Thomas Oboe Lee #31067. Published by Thomas Oboe Lee (A0.869156).

I received an email from Joel Quarrington in 2011 with a request to buy a score and a set of parts to Hylidae … The Tree Frogs (1991) for violin, double bass and piano. He said he would like to perform the work at the next International Society of Bassists convention in Rochester, New York.  I told him That is great.  But it’s such an old work.  Why don’t I write something new for you?   He said, How much would a commission cost?  I said, Let me write the piece first and if you like it, we can talk about a fee then.

I began work on Toccata for Double Bass and Piano in late August and completed it on October 15.  I sent Joel the music as a PDF and MIDI file via email.  He wrote back, The piece looks really terrific and I have enjoyed listening to it as well, thanks for the midi file.  I couldn’t be happier!

Toccata is in three movements, fast-slow-fast, with internal ABA ternary forms in the first and last movements - also fast-slow-fast.

1. Moderato … Trio … A tempo.
2. Adagio.
3. Allegro … Trio … Reprise!

The first movement begins with a driving dotted-note motif in the double bass accompanied by an insistent sixteenth-note bass-line in the piano left hand and a soaring quarter-note melody in the piano right hand.  A Trio follows which features a lyric melody in the double bass … molto cantabile!   The double bass returns this time stealing the sixteenth-note bass-line motif from the piano left hand.  The double bass pushes the music forward relentlessly and ferociously … holding no prisoners!  To add counterpoint to this madness, the piano comes back with the quarter-note melody but in octaves this time.  The left hand joins the melee occasionally to push the music forward until it reaches its climax at the conclusion.

The second movement, Adagio, is a slow waltz.  The mournful tune is delivered by the double bass at first, then it’s passed on to the piano, and it goes back and forth between the two. 

The third movement is a 6/8 romp, very syncopated and jazzy.  The music goes back and forth between the double bass and piano, not unlike when the musicians in a jazz combo trade four’s among each other.  An adagio Trio follows.  The tune is in the double bass: long descending lines over a languid piano accompaniment.  To complete the ABA format, the music from the beginning of this movement returns as a reprise.

ENJOY!!!

Commissioned by Joel Quarrington for a premiere performance at the 2013 International Society of Bassists Convention at Eastman School of Music in Rochester, New York.