Piano Solo - Level 2 - Digital Download SKU: A0.949653 By Olivia Rodrigo. By Daniel Nigro, Hayley Williams, Josh Farro, and Olivia Rodrigo. Arranged by Henrique F Mangoni. Contemporary,Pop,Rock. Score. 6 pages. Henrique Franke Mangoni #6527731. Published by Henrique Franke Mangoni (A0.949653). Good 4 U by Olivia Rodrigo, from the album Sour. Easy intermediate piano arrangement, this sheet music is written in the key of F# minor at 160 bpm. This edition includes the chords of the song. - Subscribe to my YouTube channel (Henrique F Mangoni) to know more about my work! - good 4 u, olivia rodrigo good 4 u, good 4 you, good for you olivia rodrigo, good 4 u chords, good 4 u piano, good 4 u piano sheet music, good 4 u piano chords, easy piano good 4 u.

C Instrument - Digital Download SKU: A0.1489642 By Tony Bennett & Amy Winehouse. By Edward Heyman, Frank Eyton, John Green, and Robert Sour. Arranged by Jimita. Jazz. Lead Sheet / Fake Book. 14 pages. Jimita #1066512. Published by Jimita (A0.1489642). Lead SheetChords are LargeEnding : ritKey : F, G, Ab, Bb, C, Eb, Db.

Easy Piano - Level 3 - Digital Download SKU: A0.1499575 By Tony Bennett & Amy Winehouse. By Edward Heyman, Frank Eyton, John Green, and Robert Sour. Arranged by John Fries. 20th Century,Broadway,Jazz,Musical/Show,Standards. Score. 1 pages. John Fries #1075638. Published by John Fries (A0.1499575). TYPE JOHN FRIES IN THE SEARCH BAR TO SEE ALL I HAVE TO OFFER. Thanks, John. Body and Soul is a popular song and jazz standard. It was first performed in the United States by Libby Holman in the 1930 Broadway revue Three's a Crowd. The main part of the tune consists of a repeated eight-bar melody, followed by an eight-bar bridge and a final eight-bar return to the melody. The 32-bar AABA form is typical of popular songs of the time.

Piano Trio Cello,Piano,Violin - Level 3 - Digital Download SKU: A0.1487814 Composed by Ferdinand Ries. Arranged by Dianne James. Classical. 62 pages. Artaria Editions #1064752. Published by Artaria Editions (A0.1487814). The Piano Trio in C minor Op.143 was published by Schott in 1826, but could have been composed much earlier for Ries's personal use in the London concert halls. It is an imposing work, whose gruff tone and serious purpose recall Beethoven's use of this key. The first movement is an impressive sonata-form movement extending to a length of almost 250 bars. It contains two strikingly contrasted themes, one aggressively assertive, the other of a more lyrical, tender character (parallels to Beethoven's thematic tendencies in sonata-form movements are once again clearly apparent). The Adagio movement, cast in the rich colours of A flat major (the tonic minor - flat submediant major key relationship recalls Beethoven once again) contains some moments of real beauty and musical insight. The piano is often centrestage, its florid lines and ornamental flourishes reminiscent of another of Ries's contemporaries, Hummel. The technique of connected second and third movements seen in this work is not new but was a trend established in the piano trio genre by Joseph Haydn in the 1780s and 90s. The oasis of calm and tranquillity created in the Adagio is shattered dramatically by the jagged arpeggio figure which launches the finale. This extremely fast movement - the metronome marking indicates that the music should be felt in two, not in four - is characterised by the tarantella topos. It is a tremendously exciting movement, whose swirling energy and frantic pace is only reined in at the final cadence. The present edition reproduces as faithfully as possible the text of the trio as transmitted in Schott's 1826 edition of the work, a copy of which is preserved in the Staatsbibliothek in Berlin. The metronome markings at the head of each movement derive from this source. The piano compass extends from E flat 1 to a flat 4, a range of just over six octaves. Pedal markings indicated in the source have not been included in the current edition since these are generally very instrument-dependent. Minor rhythmic inconsistences between different statements of the same theme have been retained (e.g. first movement, second subject, bb.51-52, cello and 188-89, violin), as have some differences in phrasing between successive thematic statements (cf. finale, piano bb.3-6 and violin bb.18-21). The style and notation of articulation and dynamic markings have been standardised throughout, and, where missing from the print, markings have been reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets where appropriate. Obvious wrong notes have been corrected without comment, and editorial emendations with no authority from the print are placed within brackets. Dianne James.

Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.1091733 By John Botts. By John Botts. Arranged by John Botts. Praise & Worship,Sacred,Spiritual. Score. 7 pages. John A. Botts #695871. Published by John A. Botts (A0.1091733). This song celebrates the power of Christian faith to endure the ups and downs of life in our broken world. It acknowledges that sin is the source of all that is bad and that God (the Three-in-one) is the source of all that is good. The vision of one day living with God in the perfect hereafter gives the enthusiastic hope that living this life in faith will indeed be worth it some day.

Choral Choir,Choral,SATB Chorus - Level 4 - Digital Download SKU: A0.1504151 Composed by Kevin G. Pace (ASCAP), Kathryn W. Hales. Christian,Praise & Worship,Religious,Sacred,Spiritual. 3 pages. Kevin G. Pace #1079607. Published by Kevin G. Pace (A0.1504151). A beautiful, sacred hymn based on Helaman 5:12 from the Book of Mormon, Another Testament of Jesus Christ.  Music by Kevin G. Pace.  Text by Kathryn W. Hales.Text:Upon the Rock of our Redeemer, We will build a foundation sure, Jesus Christ, the Lord our Savior, He can make us clean and pure. He is the source of covenant blessings, He is the fount of peace, love and joy, We'll share His words with joy and cheerfulness, And with truth our tongues employ.When winds of wrong assail us, When the whirlwinds begin to swirl, When the hail storm beats down with fury, We the flag of truth unfurl. We'll plant our standard on the gospel Rock, The steady Rock of our Redeemer sure, We will stand fast and never be unafraid, We will cleave to truth evermore.The gulfs of mis'ry, woe, and evil Have no power to pull us down, If we build on the words of Jesus, He's the Rock of solid ground. He is the Rock of our Salvation, He is the source of everlasting love, He's gone ahead to heav'n To prepare the way, To build mansions grand up above.

Piano Solo - Level 3 - Digital Download SKU: A0.1487274 Composed by Domenico Cimarosa. Arranged by Nick Rossi. Classical. Score. 165 pages. Artaria Editions #1064249. Published by Artaria Editions (A0.1487274). The present edition attempts to present as accurately as possible the composer's intentions as transmitted in the Florentine MS with the exception of the grouping of the works into multi-movement cycles. Cimarosa's scant markings have been preserved throughout and, on occasion, applied to parallel passages. As in the original, the editor has placed the onus of responsibility for interpretation back on the performer although he has made occasional tempo suggestions where they are missing from the source. Obvious wrong notes have been corrected without comment; editorial emendations with no authority from the source are placed within brackets. Nick Rossi.

Small Ensemble - Level 5 - Digital Download SKU: A0.533673 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 134 pages. Musik Fabrik Music Publishing #3037307. Published by Musik Fabrik Music Publishing (A0.533673). Symphony No. 3, “Ave Maris Stellaâ€� (2005) was written for the Duquesne ContemporaryEnsemble and is dedicated to composer David Stock. Throughout his career, Stock has beena tireless and generous advocate on behalf of new music and living composers. This work isdedicated to him in tribute – as both an important American composer and a significantcontributor to America’s contemporary musical life.The work’s basic source material is the plainchant Ave maris stella (“Hail, star of the seaâ€�) –appropriate because of Duquesne’s standing and history as a Catholic university. When thecomposition of this work first began, the original plan was for a celebratory and vibrant piece.As the planning progressed, however, personal circumstances intervened and began to changethe work’s tone – becoming substantially bleaker and more obsessive.The title of the first movement, Pentimento, is defined as “an underlying image in a painting,as an earlier painting, that shows through when the top layer of paint has become transparentwith age.â€� The melodic and harmonic material for the movement is entirely drawn from theplainchant source, although it is completely transformed and covered up – as in a pentimento.At various points, one can begin to hear the original plainchant “peek outâ€� in subtle ways.The opening section of the movement obsesses again and again on what sounds like a“beginningâ€� – as though it is trying to begin again and again. After a brief bassoon cadenza, afast and driving section starts, marked “sinister.â€� After driving through a series oftransformations on the plainchant material, a bridge passage leads to further attempts at the“beginningâ€� again. Finally, these attempts are given up, and the plainchant material (theunderlying layer) begins to show through quietly – in preparation for the next movement.In the second movement, Interrupted Motet, the plainchant theme is used in a morestraightforward fashion. After the opening declamatory statements, the following sectionsmove between more free developmental techniques, based on the first movement’stransformations, and “motetâ€� sections – using cantus firmus methods and textures fromRenaissance music. The tone and palate is, however, much darker and more obsessive.There is a brooding ponderousness to these contrapuntal developments. The final motetsection ends in a rageful shout, the plainchant material is presented again in full force, and thepent-up energy dissipates to the close.FluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in F/BbTrumpet in CTrombonePercussion (1 player):tubular bells, vibraphone(Percussionist needs one rosined bow for vibraphone.)PianoViolin IViolin IIViolaCelloContrabass(single strings)This is the complete set of parts.  The full score and the individual parts are avaialbe as seperate items.

String Quartet String Quartet - Level 2 - Digital Download SKU: A0.1334145 Composed by Trad & Alan Edgar. Folk,Traditional. 36 pages. Alan Edgar Ted Moon #920362. Published by Alan Edgar Ted Moon (A0.1334145). Here'a suite about life in the Isle of Man based on Manx folk tunes and religious music.  All the harmonies and some decorations are mine. There are 5 movements. I MAINLY CELEBRATIONS:  I found all the melodies in The Mona Melodies, a group of traditional tunes (probably heard in Douglas) collected in 1820.  Hunt the Wren is a surprising, lively, traditional event on St Stephen's Day when villagers dance and sing round the town hoping for gifts. This tune is dorian.  A Lullaby in aeolian follows, then In Praise of Wine, in ionian, while at the same time fragments of the Lullaby are heard from inside a home.  The Wren group return.II FAITH Religious music  I assume could have been heard in Manx churches.  Two supposedly Celtic-style antiphon melodies from a 13th-century breviary from Caen  (a) The Holy Cross (b)  The Saints.  I made them into parallel organum with a drone.  Between them is an elaborate ancient melody (labelled Martyrs) for Psalm 80 (Lord, come and save us), which I found with Gaelic words.  I accompany with 3 more parts.  The whole movement is in dorian mode.III EMOTIONS:  Mourning for a Prince is a mixolydian tune also found in The Mona Melodies.  I give the tune to the viola.  In Praise of Beauty is sung by the cello in C major.  This tune is also found in The Mona Melodies, as Brown Oxen (Berry Dowin).  William Brown (Illiam Dhoan) (should be Dhone, I believe) is the air used for Love Lost and Found: again from The Mona Melodies.  I made it C minor at first (love lost) , then  the original version in F major (love found).IV CAR JUAN NAN (Let's All Dance) is a reel, from which I took a few bars and made it into a round.  My source was the book Ed. Colin Jerry Kiaull yn Theay 1:  Manx music and songs for folk instrumentsV WORK, REST and PLAY.  The Spinning Song is major/ionian, the Milking Song is major pentatonic, but my mooing bass part does not respect that: I found those tunes in  Kiaull yn Theay.   The Harvest Celebration Dance (Yn Mheillea) is from manxmusic.com.  The Goodnight Song (Arrane Oie Vie) was traditionally sung after a Christmas Eve event in the church, after more formal proceedings and after the singing of many gloomy vaguely religious songs there and a visit to the pub.  Collected from Mr E, Corteen and Mr T.  Taggart of Malew:  my source:  manxmusic.com.DURATION: 15 minutes.

Piano Accompaniment - Level 3 - Digital Download SKU: A0.1400461 By F.Chopin . By F.Chopin . Arranged by pfkaori. Classical. Accompaniment. Duration 132. Pfkaorimusic #983656. Published by pfkaorimusic (A0.1400461). Composer: F.Chopin Song: Valse (Waltz)/op.64-1 Key: Cdur Orchestration: Piano accompaniment Level: Intermediate Orchestration: Piano accompanimentbpm:195~200 approximately*This is an arrangement of the 1st edition.*Please refrain from uploading this product alone to SNS or using it for commercial purposes.*It can be used commercially only as an accompaniment sound source.Please use it as an accompaniment sound source.Thank you for your support!