Piano,Vocal,Voice - Level 5 - Digital Download

SKU: A0.1255098

Composed by Ross Fiddes. 21st Century,Chamber,Classical,Contemporary. Score. 25 pages. Ross Fiddes #848692. Published by Ross Fiddes (A0.1255098).

It was in the aftermath of the 2020 summer bushfires in Australia that soprano Ayse Goknur Shanala rang me from Cyprus to suggest I compose a work about climate change, a subject of concern for me.  My research for lyrics did not elicit anything I considered suitable, so I turned to Derek Dowding, a local poet, singer, actor, raconteur, and a person vitally interested in the future of humanity and of the planet.

Derek and I had worked together before – he brilliantly performed the role of Abelard in the workshopping and concert performances of my hybrid opera “Abelard and Heloise�, which, in 1997, won the supreme CONDA (City of Newcastle Drama Award)  for ‘Outstanding Achievement in Newcastle Theatre’ against some 200 other stage productions in Newcastle’s bi-centenary year.

Derek worked long and late on the lyrics for the work, producing an emotional document covering history, cause and effect.  His words produced musical responses from me which I consider react appropriately to both his words and the subject matter. I hope our listeners will agree.

For the musical treatment I had to consider that the length of the work, through-sung, 20+ minutes, required a recurrent grounding to avoid too many thematic ideas getting in the way of the words.  To that end, I created a quasi-reflective section which appears, rondo-style, quite a few times during the length of the piece.  And, for further cohesion, I built an ABA (ternary) section early to address certain word structures.  Mostly, the various sections followed the stanza structure provided by Derek, with some combinations.  My musical style is essentially melodic, but with dramatic and other episodes, be they tonal, astringent, harmonically indecisive and so on.  In building the work I was principally influenced by the impact and flow of the words.

The work is quite mammoth for both the singer and the pianist.  I was absolutely delighted that Anna Fraser again premiered a work of mine – in 2015 she marvellously premiered another major composition of mine, reviewed here:  
http://soundslikesydney.com.au/reviews/concert-review-the-man-in-the-other-roomacacia-quartetanna-fraser/19830.html

We can only hope that the new work ultimately adds to the chorus of warnings and concern about the climactic future that awaits if we continue to ignore or postpone dramatic and urgent attention to addressing the causes of climate change.

A living orb cloaked white and blue and green
Revolving and evolving, tight-hugged in orbit flight
We ride her back; dependent, fragile offspring.
Suckling all the while …but have we bonded?

A world unlike any other world we’ve seen
Gifted with Water, Air, Earth and perfect Light.
The essentials of life. Freely, these gifts she brings.
Free for all but how have we responded?

                                                                     Poem© 2020 Derek Dowding
Ross Fiddes
January 2023.

Handbell - Digital Download

SKU: JX.00-11528

Lent, Holy Week, & Easter. Arranged by Anna Laura Page. This edition: Handbell Part. Choral Worship Collection; Performance Music Ensemble; Single Titles. Alfred Handbell Series. Easter; Holy Week; Lent; Sacred; Spring. Part(s). 16 pages. Jubilate Music Group - Digital #00-11528. Published by Jubilate Music Group - Digital (JX.00-11528).

English.

Hymn Descants for Ringers and Singers is a wonderful worship resource that provides fresh opportunities for programming with handbells, singers, and keyboard. The collection is presented in four volumes focusing on seasonal applications:
-Volume I---Advent, Christmas & Epiphany
-Volume II---Lent, Holy Week & Easter
-Volume III---All Saints', Ascension, Christ the King, Communion, Pentecost, Reformation & Trinity Sunday
-Volume IV---Patriotism, Stewardship & Thanksgiving.

Each volume contains 10 tunes arranged for 3-octaves handbells. Each tune was selected based upon its appropriateness to both festal days and special events in the church year as well as to its common usage in most major denominational hymnals.
The handbell arrangements may serve as hymn introductions, interludes, postludes, or accompaniments. The rich harmonizations are based upon the standard harmonic structures of each hymn, enhancing them without straying too far afield. Thus, they may be used to accompany hymn singing, inspiring rather than frightening the average congregant! These arrangements may also be performed as separate handbell pieces without singing.

Soprano voice,Vocal Solo - Level 5 - Digital Download

SKU: A0.799619

Composed by Gioachino Rossini. Arranged by Nicole Elyse DiPaolo. Classical,Opera,Romantic Period. 13 pages. Nicole Elyse DiPaolo #5334741. Published by Nicole Elyse DiPaolo (A0.799619).

The first of its kind, this is a customized Comtesse-only audition cut of En proie à la tristesse from Gioachino Rossini's Le comte Ory (1828). In the past, singers wishing to audition for this role would have to make a series of awkward cuts to eliminate the gaps created by the Comte and Isolier's lines, and deal with a needlessly inflated page count due to the choral parts, when performing this excerpt. The current edition omits and condenses those passages and, as a result, noticeably reduces the page count to 13. In addition, this new engraving is remarkably clearer than the existing French-language vocal score, which has deteriorated severely from age.

The piano reduction itself has not been simplified or drastically altered (at the commissioner's request), although the engraving features minor changes from the original edition (for example, eliminating cross-staff chord notation, correcting some obvious typos, and reconciling details in the Ricordi and French editions).

In this edition, the score cuts immediately from 2 measures after rehearsal 41 to the beginning of rehearsal 42 (so the Comtesse sings the last syllable of bonheur on the first downbeat of cut time and the C major/C minor sections are cut away completely). This brings the excerpt in line with most cavatina/cabaletta numbers that do not have a discernible break in between the two.

About the Arranger: 

Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. 
For more information, please visit http://ndipaolo.musicaneo.com .

C Instrument - Level 3 - Digital Download

SKU: A0.1459181

By Myles Smith. By Jesse Finkelstein, Myles Smith, and Peter Fenn. Arranged by Barry McCormick. Folk,Pop,Singer/Songwriter. Lead Sheet / Fake Book. 4 pages. B. McCormick #1038153. Published by B. McCormick (A0.1459181).

Introducing Stargazing Lead Sheet

Mood: Warm, fun, and happy

About the Song and Songwriter:

“Stargazing” is a breakout hit by English singer-songwriter Myles Smith. The song, released in May 2024, is known for its warm, fun, and happy mood. Myles Smith, born in Luton, England, is celebrated for his unique blend of folk, Americana, and pop influences.

Arrangement Details:

This product includes a lead sheet and a guitar chord sheet, each spanning two pages, for a total of four pages. The lead sheet provides the melody with lyrics below and chord symbols above. The guitar chord sheet includes lyrics with chords, chord diagrams for reference at the top of the first page, and alternative shapes for some chords for different options to play.

Difficulty Level:

The guitar part is suitable for beginner to easy intermediate level players, with the main challenge being maintaining the strumming pattern consistently. The vocal part is suitable for intermediate to upper intermediate level singers, with a wide vocal range of B4 - G#5.

Unique Selling Points:

This arrangement stands out for several reasons:

• The strumming pattern is provided at the start of the verse.
• Small noteheads are used to differentiate between the backing vocal parts and main vocal parts, and also in the verses for parts of the melody that differ between verses.
• The guitar chord sheet shows the strum pattern in a pictorial way using arrows rather than notation, catering to a variety of music reading levels.

Target Audience: This arrangement is ideal for educators and individuals learning music.

Potential Uses: This arrangement of “Stargazing” could be used in a variety of settings, such as:

• Music education: It’s a great piece for teaching students about chord progressions, strumming patterns, and vocal techniques.
• Performances: It’s suitable for school concerts, open mic nights, or casual performances among friends and family.
• Self-study: It’s a wonderful piece for individuals looking to expand their repertoire and improve their guitar and vocal skills.

Playing from lead sheets is an essential skill for musicians. It gives students a deeper understanding of music, improves memory and reduces performance anxiety, and is a simple way to add creativity and fun. This arrangement of “Stargazing” offers all these benefits and more.

 

Chamber Orchestra - Level 5 - Digital Download

SKU: A0.742472

Composed by Jean Phillipe Rameau. Arranged by Arte Nova Music Lab. Baroque,Concert,Standards,World. Score and parts. 15 pages. Arte Nova Music Lab #4600759. Published by Arte Nova Music Lab (A0.742472).

Les Indes galantes (French: The Amorous Indies) Opéra-ballet with a prologue and two entrées. Choreography: Louis Dupré. Music: Jean-Philippe Rameau. Libretto: Louis Fuzelier. Sets: Giovanni-Niccolò Servandoni. First performance: 23 August 1735, Théâtre de l'Académie de Musique, Paris. Principals: David Dumoulin, Louis Dupré, M. le Breton, M. Javellier, Marie Sallé.

The premiere, including only the prologue and the first two of its four entrées (acts), was staged by the Académie Royale de Musique at itstheatre in the Palais-Royal in Paris on 23 August 1735, starring the leading singers of the Opéra, Marie Antier, Marie Pélissier, Mlle Errémans, Mlle Petitpas, Denis-François Tribou, Pierre Jélyotte, and Claude-Louis-Dominique Chassé de Chinais, and the dancers Marie Sallé and Louis Dupré. Michel Blondy provided the choreography. The ballet's Premier Menuet was used in the soundtrack of the 2006 film Marie Antoinette.

Prologue: The palace of Hebe in the background and her gardens in the wings

Hebe, goddess of youth, summons her followers to take part in a festival (Air: Vous, qui d'Hébé suivez les lois). Young French, Spanish, Italians and Poles rush to celebrate with a series of dances, including a musette. The ballet is interrupted by the noise of drums and trumpets. It is Bellona, goddess of war, who arrives on the stage accompanied by warriors bearing flags. Bellona calls on the youths to seek out military glory (Air and chorus: La Gloire vous appelle). Hebe prays to Cupid (L'Amour) to use his power to hold them back. Cupid descends on a cloud with his followers. He decides to abandon Europe in favour of the Indies, where love is more welcome.

Taken from https://en.wikipedia.org/wiki/Les_Indes_galantes

Guitar - Level 3 - Digital Download

SKU: A0.841181

By James Taylor. By James Taylor. Arranged by John Murphy C.S.M.V. Rock. Guitar Tab. 4 pages. John Murphy #5793043. Published by John Murphy (A0.841181).

You can close your eyes     James Taylor

Learn this classic James Taylor song and master his characteristic finger picking guitar technique.

You will learn:

4/4 Fingerpicking rhythm patterns that you can use in many other songs and other genres.

Popular and widely used great guitar chord inversions (also sometimes called slash chords, e.g. G/B )to create interesting bass lines that complement the melody of the tune and give direction and forward momentum to the song’s chord progression. Bass driven chord progressions are a characteristic feature of accomplished guitarists like James Taylor and Chet Atkins.

‘Clawhammer’ technique or ‘Travis picking’ are the names often given to a style of playing four bass notes to the bar (usually alternating from root to fifth of the chord played with the R.H.thumb). If you listen to the great country guitarist Chet Atkins you will hear this ‘clawhammer’ style in most of his guitar arrangements.

Useful hammer-ons/pull-offs and passing notes that will improve your technique and add a professional touch to enhance your guitar performances. See bar for 8 hammer on the A sus chord and also on the B minor in bar 32. Note the pull off on G chord in bar 11.

Intro and outro sections are included in this James Taylor guitar arrangement of ‘You can close your eyes’

Most songs have intros and outros so that the singer can get the tempo and start in the right key. However, many published arrangements often just start on a pick-up note or two on the last beat of the bar with no chord indicated and end the song on a chord that is not the tonic or main key chord that tells the listener the song has ended. ‘Leaving On A Jet Plane’ by John Denver is a good example. In the key of ‘D’ the song starts with the notes ‘C#’ and ‘E’ and then the first bar is indicated as ‘D’ major chord. If you start the song playing a ‘D’ chord you will most likely sing the wrong notes because ‘C#’ and ‘E’ belong to the A7 chord of the song. So a simple 2 bar intro of ‘D’ , A7 (start singing on the last beat) and back to ‘D’ would help the singer to get the tempo and sing the correct pick-up notes. The printed sheet music of ‘Leaving On A Jet Plane’ ends on an ‘A7’ chord of the chorus and as such does not indicate that the end chord should be ‘D’. So it is not always safe to assume that the end chord in printed music indicates the key of the song.

Lyrics with chord symbols to show when to change chords. Matching the fingerpicking tab or sheet music to the lyrics can sometimes prove difficult so I have included a lyrics sheet of ‘You can close your eyes’ with chord symbols. This is a very popular format to give an indication when to change chords. However, the drawback is that there is no way of knowing how long each chord lasts as the bar structure is missing. But once you learn the bar structure from the sheet music or tab part you will find this Lyrics and chords sheet of ‘You can close your eyes’ your go to page for performing the song until you know it from memory.

Downloads available Include:

Score Tab Chords Lyrics For Guitar

Notes Chords Lyrics  For Guitar

Tab Chords Lyrics  For Guitar

If you like or buy this arrangement it helps if you leave even a brief review- two words( very good) or even better one word (Awesome) :)

Contact me at info@guitarlessonsdundrum.com

Guitar - Level 2 - Digital Download

SKU: A0.841182

By James Taylor. By James Taylor. Arranged by John Murphy C.S.M.V. Rock. Guitar Tab. 4 pages. John Murphy #5793051. Published by John Murphy (A0.841182).

You can close your eyes     James Taylor

Learn this classic James Taylor song and master his characteristic finger picking guitar technique.

You will learn:

4/4 Fingerpicking rhythm patterns that you can use in many other songs and other genres.

Popular and widely used great guitar chord inversions (also sometimes called slash chords, e.g. G/B )to create interesting bass lines that complement the melody of the tune and give direction and forward momentum to the song’s chord progression. Bass driven chord progressions are a characteristic feature of accomplished guitarists like James Taylor and Chet Atkins.

‘Clawhammer’ technique or ‘Travis picking’ are the names often given to a style of playing four bass notes to the bar (usually alternating from root to fifth of the chord played with the R.H.thumb). If you listen to the great country guitarist Chet Atkins you will hear this ‘clawhammer’ style in most of his guitar arrangements.

Useful hammer-ons/pull-offs and passing notes that will improve your technique and add a professional touch to enhance your guitar performances. See bar for 8 hammer on the A sus chord and also on the B minor in bar 32. Note the pull off on G chord in bar 11.

Intro and outro sections are included in this James Taylor guitar arrangement of ‘You can close your eyes’

Most songs have intros and outros so that the singer can get the tempo and start in the right key. However, many published arrangements often just start on a pick-up note or two on the last beat of the bar with no chord indicated and end the song on a chord that is not the tonic or main key chord that tells the listener the song has ended. ‘Leaving On A Jet Plane’ by John Denver is a good example. In the key of ‘D’ the song starts with the notes ‘C#’ and ‘E’ and then the first bar is indicated as ‘D’ major chord. If you start the song playing a ‘D’ chord you will most likely sing the wrong notes because ‘C#’ and ‘E’ belong to the A7 chord of the song. So a simple 2 bar intro of ‘D’ , A7 (start singing on the last beat) and back to ‘D’ would help the singer to get the tempo and sing the correct pick-up notes. The printed sheet music of ‘Leaving On A Jet Plane’ ends on an ‘A7’ chord of the chorus and as such does not indicate that the end chord should be ‘D’. So it is not always safe to assume that the end chord in printed music indicates the key of the song.

Lyrics with chord symbols to show when to change chords. Matching the fingerpicking tab or sheet music to the lyrics can sometimes prove difficult so I have included a lyrics sheet of ‘You can close your eyes’ with chord symbols. This is a very popular format to give an indication when to change chords. However, the drawback is that there is no way of knowing how long each chord lasts as the bar structure is missing. But once you learn the bar structure from the sheet music or tab part you will find this Lyrics and chords sheet of ‘You can close your eyes’ your go to page for performing the song until you know it from memory.

Downloads available Include:

Score Tab Chords Lyrics For Guitar

Notes Chords Lyrics For Guitar

Tab Chords Lyrics For Guitar

If you like or buy this arrangement it helps if you leave even a brief review- two words( very good) or even better one word (Awesome) :)

Contact me at info@guitarlessonsdundrum.com

Tags :    Sheet music, Tab,  Pop/Rock, Folk , Country, Acoustic Guitar,  Easy  Intermediate

Guitar - Digital Download

SKU: A0.841180

By James Taylor. By James Taylor. Arranged by John Murphy C.S.M.V. Rock. Guitar Tab. 6 pages. John Murphy #5792957. Published by John Murphy (A0.841180).

You Can Close Your Eyes     James Taylor

Learn this classic James Taylor song and master his characteristic finger picking guitar technique.

You will learn:

4/4 Fingerpicking rhythm patterns that you can use in many other songs and other genres.

Popular and widely used great guitar chord inversions (also sometimes called slash chords, e.g. G/B )to create interesting bass lines that complement the melody of the tune and give direction and forward momentum to the song’s chord progression. Bass driven chord progressions are a characteristic feature of accomplished guitarists like James Taylor and Chet Atkins.

‘Clawhammer’ technique or ‘Travis picking’ are the names often given to a style of playing four bass notes to the bar (usually alternating from root to fifth of the chord played with the R.H.thumb). If you listen to the great country guitarist Chet Atkins you will hear this ‘clawhammer’ style in most of his guitar arrangements.

Useful hammer-ons/pull-offs and passing notes that will improve your technique and add a professional touch to enhance your guitar performances. See bar for 8 hammer on the A sus chord and also on the B minor in bar 32. Note the pull off on G chord in bar 11.

Intro and outro sections are included in this James Taylor guitar arrangement of ‘You can close your eyes’

Most songs have intros and outros so that the singer can get the tempo and start in the right key. However, many published arrangements often just start on a pick-up note or two on the last beat of the bar with no chord indicated and end the song on a chord that is not the tonic or main key chord that tells the listener the song has ended. ‘Leaving On A Jet Plane’ by John Denver is a good example. In the key of ‘D’ the song starts with the notes ‘C#’ and ‘E’ and then the first bar is indicated as ‘D’ major chord. If you start the song playing a ‘D’ chord you will most likely sing the wrong notes because ‘C#’ and ‘E’ belong to the A7 chord of the song. So a simple 2 bar intro of ‘D’ , A7 (start singing on the last beat) and back to ‘D’ would help the singer to get the tempo and sing the correct pick-up notes. The printed sheet music of ‘Leaving On A Jet Plane’ ends on an ‘A7’ chord of the chorus and as such does not indicate that the end chord should be ‘D’. So it is not always safe to assume that the end chord in printed music indicates the key of the song.

Lyrics with chord symbols to show when to change chords. Matching the fingerpicking tab or sheet music to the lyrics can sometimes prove difficult so I have included a lyrics sheet of ‘You can close your eyes’ with chord symbols. This is a very popular format to give an indication when to change chords. However, the drawback is that there is no way of knowing how long each chord lasts as the bar structure is missing. But once you learn the bar structure from the sheet music or tab part you will find this Lyrics and chords sheet of ‘You can close your eyes’ your go to page for performing the song until you know it from memory.

Downloads available Include:

Score Tab Chords Lyrics For Guitar

Notes Chords Lyrics For Guitar

Tab Chords Lyrics For Guitar

If you like or buy this arrangement it helps if you leave even a brief review- two words( very good) or even better one word (Awesome) :) 

Contact me at info@guitarlessonsdundrum.com

Choral Choir (SATB) - Level 5 - Digital Download

SKU: A0.535388

Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 82 pages. Musik Fabrik Music Publishing #3043975. Published by Musik Fabrik Music Publishing (A0.535388).

I. Sinfonia
II. To Mary on the vigil of her Assumption
III. A Votive Song
IV. The Heliotrope-the mind of man turned to God
Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and is
dedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.
The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poet
Jakob Balde, S.J. (1604–68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.
In the case of the three poems selected, Balde’s vivid imagery and mastery of Latin poetics are put in service of religious
expression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strong
correlation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked in
classical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary and
relevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)
The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forward
momentum is interrupted several times before the movement settles tonally. The first choral movement employs a
bouncy momentum to set the celebratory poem on the Virgin’s assumption. The second movement is a prayerful song on
the acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The final
movement returns to the celebratory spirit of the opening; this time, instead of the Virgin’s journey, the poem describes
the speaker’s journey and compares a purposeful sea voyage to a directed life.
Balde’s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poetic
English created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literal
translation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.
Carson P. Cooman, January 2009, Cambridge, Massachusetts, USA
PERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin
(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W sound
often used by classical Latinists.)
The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroque
instruments. It is suggested that 16–24 singers be employed (no fewer than 12).
As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected that
director and performers will inflect lines expressively and naturally. The organ part is notated for a small portatif
organ with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smaller
registration plan should be kept in mind so as to create balance with the instruments and choir.

Choral Choir (SATB) - Level 5 - Digital Download

SKU: A0.535387

Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 65 pages. Musik Fabrik Music Publishing #3043973. Published by Musik Fabrik Music Publishing (A0.535387).

I. Sinfonia
II. To Mary on the vigil of her Assumption
III. A Votive Song
IV. The Heliotrope-the mind of man turned to God

Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and is
dedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.
The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poet
Jakob Balde, S.J. (1604–68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.
In the case of the three poems selected, Balde’s vivid imagery and mastery of Latin poetics are put in service of religious
expression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strong
correlation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked in
classical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary and
relevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)
The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forward
momentum is interrupted several times before the movement settles tonally. The first choral movement employs a
bouncy momentum to set the celebratory poem on the Virgin’s assumption. The second movement is a prayerful song on
the acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The final
movement returns to the celebratory spirit of the opening; this time, instead of the Virgin’s journey, the poem describes
the speaker’s journey and compares a purposeful sea voyage to a directed life.
Balde’s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poetic
English created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literal
translation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.
Carson P. Cooman, January 2009, Cambridge, Massachusetts, USA
PERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin
(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W sound
often used by classical Latinists.)
The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroque
instruments. It is suggested that 16–24 singers be employed (no fewer than 12).
As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected that
director and performers will inflect lines expressively and naturally. The organ part is notated for a small portatif
organ with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smaller
registration plan should be kept in mind so as to create balance with the instruments and choir

B-Flat Clarinet,Piano - Level 1 - Digital Download

SKU: A0.1237656

By Taylor Swift. By Taylor Swift and William Bowery. Arranged by André Nusa. Pop,Singer/Songwriter. Score and part. 9 pages. Andre_Nusa #833159. Published by Andre_Nusa (A0.1237656).

Indulge in the poignant storytelling of Taylor Swift's Champagne Problems with this enchanting arrangement for piano and clarinet. Immerse yourself in the emotional depth and melodic beauty of this contemporary ballad as the piano and clarinet intertwine to create a captivating musical dialogue. The piano sets the expressive backdrop with its delicate chords and nuanced accompaniment, while the clarinet takes the lead, weaving heartfelt melodies that convey the song's emotional journey.  As you delve into the evocative melodies of Champagne Problems on piano and clarinet, you'll be transported to a world of introspection and emotional resonance. Perfect for performances, recitals, or intimate gatherings, this arrangement promises an unforgettable musical experience. Let the expressive melodies and harmonies of Champagne Problems stir your emotions and captivate your audience as the piano and clarinet collaborate to bring this captivating song to life.

Oboe,Piano - Level 1 - Digital Download

SKU: A0.1237659

By Taylor Swift. By Taylor Swift and William Bowery. Arranged by André Nusa. Pop,Singer/Songwriter. Score and part. 9 pages. Andre_Nusa #833162. Published by Andre_Nusa (A0.1237659).

Indulge in the poignant storytelling of Taylor Swift's Champagne Problems with this enchanting arrangement for piano and oboe. Immerse yourself in the emotional depth and melodic beauty of this contemporary ballad as the piano and oboe intertwine to create a captivating musical dialogue. The piano sets the expressive backdrop with its delicate chords and nuanced accompaniment, while the oboe takes the lead, weaving heartfelt melodies that convey the song's emotional journey.  As you delve into the evocative melodies of Champagne Problems on piano and oboe, you'll be transported to a world of introspection and emotional resonance. Perfect for performances, recitals, or intimate gatherings, this arrangement promises an unforgettable musical experience. Let the expressive melodies and harmonies of Champagne Problems stir your emotions and captivate your audience as the piano and oboe collaborate to bring this captivating song to life.