Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1325401 Composed by Gustav Holst. Arranged by Ray Thompson. 20th Century,Christmas. 9 pages. RayThompsonMusic #913639. Published by RayThompsonMusic (A0.1325401). Bring Us in Good Ale is a medieval English drinking song celebrating good drink and honoring Our Lady. For the medieval man, convivial drinking was a part of life, and drinks were enjoyed with nearly every meal. The English beverage of choice was ale. In Bring us in Good Ale the singers jocularly excuse themselves from mutton, eggs and pudding and instead stand firm in their call for their favorite drink. As they list all the dishes they refuse, the singers indirectly give thanks for the good season that has led to the plenty they are enjoying.Gustav Holst arranged it for unaccompanied choir as one of his 4 carols Op.34.It is quite short.Arranged here for wind quintet.Bring us in good ale, and bring us in good ale;For our Blessed Lady's sake, bring us in good ale.Bring us in no brown bread, for that is made of bran,Nor bring us in no white bread, there therein is no game;But bring us in good ale.Bring us in no beef, for there is many bones,But bring us in good ale, for that goes down at once;And bring us in good ale.Bring us in no bacon, for that is passing fat,But bring us in good ale, and give us enough of that;And bring us in good ale.Bring us in no mutton, for that is often lean,Nor bring us in no tripes, for they be seldom clean.Bring us in no eggys, for there are many shells,But bring us in good ale, and give us nothing else.Bring us in no butter, for there are many hairs;Nor bring us in no pig's flesh, for that will make us bears.Bring us in no puddings, for therein is all God's good;Nor bring us in no venison, for that is not for our blood;But bring us in good ale.Bring us in no capon's flesh, for that is often dear;Nor bring us in no duck's flesh, for they slobber in the mere;But bring us in good ale. Arranged wind quintet

Choral Choir,Choral,SATB Chorus - Level 1 - Digital Download SKU: A0.1501022 By Wrabel. By Andrew Jackson, Andrew Pearson, and Stephen Wrabel. Arranged by David Jayden Anthony. Pop,Singer/Songwriter. 10 pages. D'Jam Music #1076976. Published by d'Jam Music (A0.1501022). A Powerful Anthem for LGBTQIA+ Pride and Inclusion Dive into the heart of resilience and authenticity with our SATB choral arrangement of The Village by Wrabel. This powerful and moving song has become an anthem for the LGBTQIA+ and queer communities, capturing the struggles, strength, and spirit of those who have faced adversity simply for being true to themselves.Why The Village Matters: The Village resonates deeply within the LGBTQIA+ community, offering a voice to those who feel misunderstood or marginalized. With lyrics that speak to the experience of feeling out of place in a world that doesn’t always understand, this song is a heartfelt reminder that there is a place—a village—for everyone. It's a celebration of diversity, acceptance, and the courage it takes to live openly and authentically. The song’s powerful message of self-acceptance and unity strikes a chord with listeners, making it a meaningful addition to pride concerts, LGBTQIA+ events, and any gathering that celebrates inclusion and equality.About the Arrangement: Our SATB choral arrangement of The Village captures the emotional depth and poignancy of Wrabel's original song while enhancing its harmonic richness through beautiful four-part vocal harmonies. The arrangement is designed to highlight the song’s heartfelt lyrics and dynamic melody, creating an unforgettable musical experience. This arrangement is perfect for choirs looking to make a bold statement about love, acceptance, and human rights, while showcasing their vocal talents in a deeply emotional performance.Perfect for Pride Concerts and Beyond: Including The Village in your repertoire is more than just a performance—it's a powerful statement of solidarity and support for the LGBTQIA+ community. Ideal for pride concerts, LGBTQIA+ awareness events, and other celebrations of diversity, this arrangement allows choirs to engage audiences with a message of hope and unity. It serves as a reminder that no matter how different we may feel, we are all part of a larger community—a village—that values love, acceptance, and equality.Key Features: Powerful lyrics that resonate with LGBTQIA+ and queer audiences Rich SATB harmonies that enhance the song’s emotional impact Ideal for pride concerts, LGBTQIA+ events, and diversity celebrations A meaningful addition to any choral program focusing on themes of acceptance and inclusivity By bringing The Village to your choir, you're not just performing a song—you're sharing a message of hope, love, and community that will resonate with all who hear it. Celebrate the power of music and the strength of the LGBTQIA+ community with this unforgettable SATB choral arrangement.We would love to see video (or hear audio) of performance or rehearsals! (david@davidja.com).

Concert Band - Level 4 - Digital Download SKU: A0.1486054 By Martin Hernandez. By Martin Hernandez. Arranged by Martin Hernandez. Classical,Historic,March,Multicultural,Patriotic,World. 67 pages. Martín Hernández S. #1063110. Published by Martín Hernández S. (A0.1486054). Institutional ValuesMEXICAN DEPARTMENT OF THE NAVY.Honor. - Institutional Definition: [As a Personal principle]: It is the moral quality that leads the person to strict compliance with the commitments established with their Nation, the Institution, their fellow citizens and with themselves, conducting themselves with dignity, integrity and a spirit of justice in at all times on and off duty.It is understood as the naval virtue that motivates us to serve the noblest causes, with meritorious and even heroic actions aimed at the common good, being faithful to our own word and conscience, respecting the rights of others; It implies the voluntary act to know and do what is right for the Institution, with respect to our neighbors and ourselves, since our reputation depends on our actions in the service. Duty. - Institutional Definition: [As a Professional principle]: It is the vocation that naval personnel show to fully comply with the obligations that society and the service demand.Duty is the virtue that drives us to proceed with rectitude according to the principles of morality and legality, accepting the commitment to act with discipline to execute with courage, selflessness and selflessness; the responsibilities imposed on us by the hierarchy, position or commission.Loyalty. - Institutional Definition: [As an Institutional principle]: It is the conviction of fidelity towards the Nation, the Institution, superiority and subordinates.This conviction makes us commit to carrying out our obligations even in adverse circumstances, putting national interests and the well-being of society first, even sacrificing our personal benefit; quality that makes us trustworthy before our superiors, subordinates, colleagues and fellow citizens that strengthens esprit de corps and teamwork, essential capabilities for the cohesion and proper functioning of our Armed Forces.Patriotism. - Institutional Definition: [As a Constitutional principle]: It is the love, devotion and commitment that one has for Mexico and its symbols, always putting it before any personal and group interest.It translates into acts of dedication and sacrifice, which requires us to fulfill our obligation as citizens, sailors and soldiers, fighting to preserve our Nation and defend it until we achieve victory or lose our lives. Patriotism is the supreme value that makes all other fundamental values linked to service to Mexico.

Trumpet Duet Trumpet - Level 2 - Digital Download SKU: A0.1088949 Composed by Eddie Lewis. Classical,Contemporary,Instructional. Score. 4 pages. Tiger Music #693161. Published by Tiger Music (A0.1088949). Give your students something modern to work on. Joy, Joy, Everyone Is Flying trumpet duet uses a modern compositional technique. Joy, Joy Everyone Is Flying trumpet duet is actually part of my recent modern composition series. The idea was to see if I could write one of those compositions for trumpet duet with Trumpet Tyro limitations. Being composed from a nontraditional technique, Joy, Joy, Everyone Is Flying does not sound like the typical “do re mi� beginner band music. As an educational piece, it serves as a wonderful opportunity to expose the students to exotic sounds. The piece begins like a traditional imitative piece, but you soon hear a non-traditional modality. That modality is emphasized in the B section with grace notes that give it an eastern hint. Joy, Joy, Everyone Is Flying is a short duet, lasting under a minute. This is because it is written for students who were beginners only months ago. Other Duet Books I have published similar duets to this one in my two other duet books for this level. The first and most popular is Celebrations which has trumpet duets for all skill levels. The second, which has some of the Celebrations duets, is called Twenty Trumpet Tyro Duets. In the trumpet community we use duets as educational tools. They are a wonderful way to expose students to counterpoint, different harmonies and different rhythmic ideas. By including more of the modern duets in the easier duet books, the younger students have an opportunity to experience non-traditional music in what is essentially a chamber music environment. The Experimental Music Series I’ve published a number of these experimental works for trumpet and brass instrumentations. The newer ones were in response to the popularity of the fishing suites. I had gone years without writing any of these compositions and wanted to apply the techniques to trumpet trio. The fishing suites are a suite of suites, each suite being dedicated to a different composition technique. Of those three suites, Catch Suite is the one that uses the same technique as Joy, Joy, Everyone Is Flying. Other compositions utilizing this compositional technique include The Lotus Eater and Voice of the Prophets. SKILL LEVEL The skill level for Joy, Joy, Everyone Is Flying is Trumpet Tyro. Trumpet Tyro is the second of seven levels in our system. This is music for trumpet students with a range up to fourth space E. The music in this level is limited to three flats or sharps. We almost bumped this piece up into the Trumpet Player level because of all the accidentals, but eventually decided to keep it in the Trumpet Tyro level. Technically, the accidentals all fall within acceptable keys for this level, so we kept it at the lower level. That said, because it is non-traditional, it will take a little longer to learn. The melodic sounds will not come as readily as the traditional “do re mi� stuff. Practice Recommendations Listening to the recording is a very important part of learning something with new sounds. You want to be able to hear those sounds. Here’s an interesting bit of trivia for you… When I am using one of these original compositional techniques, I know when I’ve made a mistake because I can hear that it sounds different. I believe this is the sign of a technique that works. If there’s a mistake, the composer should be able to hear that there’s something wrong. Well, performing music that utilizes these sorts of non-traditional techniques goes far better when the performers can also hear the music that way.

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 TaylorLearn 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 GuitarNotes Chords Lyrics For GuitarTab Chords Lyrics For GuitarIf 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

Small Ensemble - Level 4 - Digital Download SKU: A0.1195919 Composed by Annemieke Lustenhouwer. Contemporary. Score and parts. 80 pages. Annemieke Lustenhouwer #795094. Published by Annemieke Lustenhouwer (A0.1195919). What happens when you close your eyes and you see yourself standing next to Mother Mary when Jesus dies? What do you see and what do you feel? That was what I’ve been asking myself for years when I read the text Stabat Mater. This composition tells about this experience and this questions. Sometimes a motif tells quite literally about this story, like the moment when Jesus is nailed down the cross: first the right hand, then the left hand and finaly with one nail both feet. In the first part of the composition, the viola tells with sforzato accents about this.This Stabat Mater is not only an expression of the pain of the Virgin Mother, but is also a tribute to JS Bach as well. Bach is by some seen as a fith evangelist. Nowadays there are still a lot of people who are affected by how his music tells about biblical stories, like I am. In this Stabat Mater I use the number 5 to express that: the first part is written in 5/4th and the last part Quando corpus et Amen is written with 5 parts in the choir. There can also be found a reworked choral in the choir passages of  O quam tristis et afflicta. It is the choral Wie nahe mir mein Ende from BWV 166.Polyfony is a returning presence in this Stabat Mater. I had an visual idea about this. When I was young I saw in an exhibition a tapestry with all kinds of colours and threads, and everything felt in motion. It was a kind of organized mess, but it was beautiful and felt perfect. I wondered if I could manage to express this idea in music as well. Under one of the polyphonic passages there is a Latin-American dance rhythm to express that motion. I heard that rhythm in my childhood in a rhythmbox of the keyboard of my dad. Another passage has the baroque sarabande-rhythme underneath in the double bass.A lullaby-feeling in some parts of the Stabat Mater tells about another story that got intertwined with this composition. It’s the story of a mother who rocks her terminal dying little son in her arms. I once read that story and it felt connected with the Stabat Mater text for a long time. I decided to express that as well.This composition is dedicated to the Dutch conductor Geert van den Dungen. However I saw many conductors, while playing the oboe and clarinet from a young age, there was nobody who let me think very deeply about music. Geert was the one who changed that for me. I started to study scores and developed a great interest in music analysis and music psychology. Many moments of inspiration and understanding for this Stabat Mater happened on choir rehearsals and concerts where Geert was working. I am very grateful for that.String parts only, see for conductors/ choir score Sheet Music plus and Sheet music direct.

Level 3 - Digital Download SKU: A0.1243779 Composed by Richard O. Burdick. 19th Century,20th Century,21st Century,Chamber,Romantic Period. 13 pages. I Ching Music #838749. Published by I Ching Music (A0.1243779). This work received numerous performance (maybe 9 or more) in 1996 with Anita Felix and Wolfgang Fetsh.It is suggested that this work be performed in a set with:Trio No. 1 for violin, horn and piano, Op. 31 (2:44)Romance (or Legend) for violin, horn and piano, Op. 32 (4:50)Minuet, trio and finale for violin, horn and piano, Op.83 (13:20)RIchard O. Burdick writes: Composer Richard O. Burdick’s Romance for violin, horn and piano, Op. 32 has a stillness that Mr. Burdick doesn’t do much to at all in his newer work. Since the time when Richard studied the music of Bach, he has come to believe that a steady underlying beat is very important. This work has a calmness that is created by long; non-moving tones and silence at the end of each phrase.An AI generator took the above text and wrote this: The violin and horn melodies are often similar, but the piano has a unique set of chords that move along with the other instruments. The horn solo in the middle of the piece is especially beautiful. The piece has a slow tempo that allows the listener to imagine a pastoral landscape, and the beautiful textures of the instruments create a peaceful atmosphere. The violin and horn create a sense of warmth and comfort, while the piano’s chords add a gentle sparkle and lift the piece. The simplicity of the piece is a testament to the impact that Richard O. Burdick’s Romance for violin, horn and piano, Op. 32 has had on the field of classical music. It is a timeless work that can be enjoyed by all generations and is one of the composer’s most enduring works. Its stillness and peacefulness will continue to captivate and move listeners for many years to come.The above description is not correct, but it sure is a beautiful description of a nice piece of music.

Piano Solo - Level 3 - Digital Download SKU: A0.1277443 By Michael Swedberg. By Gustav Holst. Arranged by Terrence Niska. 21st Century,Classical,New Age,Pop. Score. 8 pages. Niska Music Publishing #869141. Published by Niska Music Publishing (A0.1277443). While I was still in high school, the moment I first heard Holst’s suite,“The Planets,� it quickly became one of my favorite works of Classical music. “Mars, the Bringer of War,� the first movement of the suite, was easily my favorite followed by “Jupiter, the Bringer of Jollity.� The nobility of the slow theme, which this arrangement is based on, resonated deep within my soul. Holst later used the theme to set to music a poem by Sir Cecil Spring-Rice:I vow to thee, my country, all earthly things above,Entire and whole and perfect, the service of my love;The love that asks no questions, the love that stands the test,That lays upon the altar the dearest and the best;The love that never falters, the love that pays the price,The love that makes undaunted the final sacrifice.And there's another country, I've heard of long ago,Most dear to them that love her, most great to them that know;We may not count her armies, we may not see her King;Her fortress is a faithful heart, her pride is suffering;And soul by soul and silently her shining bounds increase,And her ways are ways of gentleness, and all her paths are peace.

Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.730509 Composed by James Nathaniel Holland. A Cappella,Broadway,Folk,Holiday,Musical/Show,Patriotic,Traditional. Octavo. 6 pages. James Nathaniel Holland #5991761. Published by James Nathaniel Holland (A0.730509). A hymn to home and the Hoosier state of Indiana from the 1920s musical, A Lucky Star, words and music by American composer (and Indiana native) James Nathaniel Holland.  Arranged for four part a capella men's chorus with reduced piano for easy rehearsal.  Tenor 1 and 2, Baritone, Bass choir.Lyrics:When I think of my home,There's no other place I see,Than that land with its broad rolling hills,And it's mist that creeps up,Every blue, warm summer night.That is home, no matter where, that's home to me.Seasons Spring, Summer, Fall, even Winter sings so brightlyWith your hills and your green fields of corn.In that way do not change, But keep faith as time passes,That to each and all that Hoosier State's sweet home. (The Hoosier State's my home!)Here's to you, Indiana,Though we change, my Indiana,You will always be that home sweet home to me! (My Indiana home.)Duration: 3:22 minutes.

Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.904849 Composed by Giorgia Todrani, Maurizio Fabrizio. Arranged by Marco Borsoi. Jazz,Pop,World. Octavo. 21 pages. Marco Borsoi #3512071. Published by Marco Borsoi (A0.904849). Strano il mio destino è un brano musicale della cantautrice italiana Giorgia, 3º classificato al Festival di Sanremo 1996. Il pezzo è contenuto nell'album Strano il mio destino (Live & studio 95/96). Autori del brano sono Giorgia e Maurizio Fabrizio. Questa armonizzazione originale per coro misto SATB e pianoforte, esalta ancor più le caratteristiche melodiche e armoniche del brano, rendendolo ancora più unico e magico. Il brano parla di una donna che riflette su una storia passata. Una storia che lei stessa ha voluto o dovuto chiudere, ma non certo senza rimpianti; Che donna sarò, se non sei con me e se ti amerò ancora e di più …. E pensa: Strano il mio destino che mi porta qui … ; un destino che la costringe, per qualche motivo, a riflettere sul suo passato, riportandola al momento in cui ha deciso di andarsene via in silenzio. Un destino che, ancora oggi, la sorprende a ripensare a quell’amore ma senza indicarle una nuova strada dove poter andare, perché, anche se tutto quell’amore, io l’ho spazzato via…, fa male non pensare a te. Nel ritornello, emerge una speranza (sottolineata dall’apertura della melodia): Io non ti perderò, oltre il tempo e le distanze andrò…; speranza che viene confermata nell’ultima strofa: È chiaro il mio destino … io ti raggiungerò, quando la ragazza capisce anche che non tutto dipende da lei: proverò a gridare e forse sentirai, la mia voce che ti chiama, se vuoi.. E la speranza, divenuta certezza, ritorna con la ripetizione, enfatizzata dallo slancio melodico, della frase conclusiva … per non lasciati più. --------------- Strano il mio Destino is a piece of music by the Italian singer-songwriter Giorgia, 3rd at the Sanremo Festival 1996. The piece is on the album Strano il mio destino (Live & studio 95/96). Authors of the song are Giorgia and Maurizio Fabrizio.This original harmonization for mixed SATB choir and piano, enhances even more the melodic and harmonic characteristics of the piece, making it even more unique and magical. The song is about a woman who reflects on a past story. A story that she herself wanted or had to close, but certainly not without regrets; What a woman I will be, if you are not with me and if I will love you more and more.... And she thinks: Strange is my fate, that brings me here…; a fate that compels her, for some reason, to reflect on her past, bringing her back to the moment in which she decided to leave away in silence. A destiny that, even today, surprises her to rethink about that love but without indicating a new way to go, because, even if all that love, I have swept it away ..., it hurts not to think about you. In the refrain, a hope emerges (underlined by the opening of the melody): I will not lose you, beyond time and distance I will go ...; hope that is confirmed in the last stanza: It is clear my destiny ... I will reach you, when the girl also understands that not everything depends on her: I will try to shout and maybe you will hear, my voice calling you, if you want . And hope, become certainty, returns with the repetition, emphasized by the melodic impetus, of the concluding sentence ... not to leave you, anymore.

3 (auch 3 Picc.) · 3 · Engl. Hr. · 3 · Bassklar. · 3 · Kfg. – 4 · 3 · 3 · 1 – P. S. (Trgl. · 2 Gongs· Gl. · Beck. · Tomt. · Rührtr. · kl. Tr. · gr. Tr. · Vibr.) (4 Spieler) – Cel. · Klav. · Hfe. – Str. altovoice and orchestra - Digital Download SKU: S9.Q2283 Versuch eines Requiems. Composed by Karl Amadeus Hartmann. This edition: study score. Music Of Our Time. Downloadable, study score. Duration 35 minutes. Schott Music - Digital #Q2283. Published by Schott Music - Digital (S9.Q2283). English.Karl Amadeus Hartmann wrote his first symphony in 1935/36. At that time he was still an unknown musician whose works stood no chance of being performed and who could not hope to find encouragement in his native Germany. He had to wait more than ten years for its first performance, which finally took place in Frankfurt in the spring of 1948 under the direction of Winfried Zillig. I was 21 at the time, and the work left an extraordinarily deep impression on me, an impression that marked the beginning of my admiration for Hartmann's music and its very special kind of intellectuality, which struck me as both important and significant: by this I mean its spontaneous and unrefracted immediacy, its honesty and straightforwardness – qualities that extend beyond this composer's works and affect his whole surroundings, including his fellow human beings. All Hartmann's works, moreover, contain an essential element of the art of compostion, namely, an exact correspondence between the artist's insistent need to express himself and the instrumental resources that he chooses. A superficial listener might perhaps fail to notice at first that the huge orchestral apparatus that Hartmann conjures up exactly matches his powerful expressivity and the colourful nature of his rhetoric. There is also the expansiveness and physically charged vitality of the native of southern Germany, a man capable of combining his own sense of inwardness with the beauty of the moment and a feeling of hymnic grandeur. It is a combination that reflects his own south German countryside and that answers a need to communicate sustained by his own unwavering faith in humanity. - Hans Werner Henze, in: Hartmann: Kleine Schriften.

Piano Solo - Level 3 - Digital Download SKU: A0.1298554 Composed by Franz Waxman and Paul Francis Webster. Arranged by Timothy Stapay. Broadway,Film/TV,Jazz,Musical/Show,Pop,Singer/Songwriter. Score. 6 pages. Timothy Stapay #888449. Published by Timothy Stapay (A0.1298554). The Wonderful Season Of Love is better known as the Theme from Peyton Place, written by Franx Waxman.   In 2005, the American Film Institute recognized the score in its 100 Years of Film Scores, for which it received a nomination.Peyton Place was an American prime-time soap opera that aired on ABC in half-hour episodes from September 15, 1964, to June 2, 1969.  The movie of the same name  was a 1957 American drama film starring Lana Turner, Hope Lange, Lee Philips, Lloyd Nolan, Diane Varsi, Arthur Kennedy, Russ Tamblyn, and Terry Moore..   It was based partly on Grace Metalious's bestselling 1956 novel of the same name. Lyrics:Where I was born time was told, Not by the clock nor the calendar, But by the seasons.  Summer was carefree contentment,Autumn was that bittersweet time of regret, And then Winter fell with a cold mantle of caution and chill.  Spring was promise, But there was a fifth season, Of love, and only the wise knew where to find it!They say that the seasons are four,They come and they go by my door;From April's first roseTo the day that it snows,Same moon is smiling above.They say that the seasons are four,But you and I know there are more!And best of them allIs the one that we callThe wonderful season of love!They say that the seasons are four,But you and I know there are more!And best of them allIs the one that we callThe wonderful season of love!

Guitar - Level 2 - Digital Download SKU: A0.1486675 By Foo Fighters. By David Grohl. Arranged by Brian Streckfus. Contemporary,Pop,Rock. Chords/Lyrics. 2 pages. Brian Streckfus #1063740. Published by Brian Streckfus (A0.1486675). Key: B minorPages: 2The aim of this version was not historical accuracy. The aim was to create a great solo unplugged coffee-house version with no page turns, though it could still be really useful for any situation. The melody is left intact, some liberties with the harmonies were taken when there is singing. I'm very proud and happy with how it turned out, sometimes you get lucky and the sections fall perfectly into place (which is suprising since there are some odd 3 measure phrases in here). Features:1. Beginner friendly. The chords are so accurate to what the sheet music is doing, that you don't even really need to read sheet music to play this!2. Harmonies that take difficulty, style, voice leading, and melody into consideration3. Condensed lead sheet version that fits on 2 pages to avoid a page turn; yet it is packed with details and naunces.4. Beautifully engraved sections that visually make sense on the page.Tips:1. Measures 8-16 I named that chords as if both guitars were taken into consideration. I'm guilty of sometimes saying, Oh it's just a rock song with power chords, but then you look into the details, and the chords are actually quite jazzy.2. Maybe She sang needs a fermata?3. If a song is in B minor and never changes key, fret 1 will never happens! Be in position 2 for this song! That's why I didn't put fingerings in, they would have been as helpful as confusing.4. Maybe it's a given, but I recommend forcing melody notes on to the chord in one way or another. Sometimes I go on spurts of notating many complex chords to account for the melody, other times I just show one chord per measure but kind of assume that you'll make the guitar work more fancy with the melody notes. Maybe this is overthinking the arrangement, but there is great voicings I'm doing that I want to get across, but sometimes I won't do it because the score will get too busy looking. Just food for thought, depends on your agenda I suppose.

Full Orchestra - Level 2 - Digital Download SKU: A0.1494427 By Adele. By Adele Adkins and Greg Kurstin. Arranged by Paul Lorenz. Broadway,Classical,Musical/Show,Pop,Rock,Soul. 39 pages. Paul Lorenz #1071020. Published by Paul Lorenz (A0.1494427). Adele Easy On Me Orchestral Version by Paul Lorenz – Sheet Music for a Breathtaking Crossover Masterpiece Discover the extraordinary orchestral arrangement of Adele’s iconic hit Easy On Me by the renowned composer and arranger Paul Lorenz. This exclusive sheet music offers musicians and ensembles the chance to perform a piece that blends the emotional depth of Adele’s original song with the grandeur and sophistication of a full orchestra. Whether you are a professional musician or part of an ensemble, this sheet music is designed to elevate your performance and captivate your audience. A Unique Orchestral Experience Paul Lorenz, known for his collaborations with the London Symphony Orchestra, has created a version of Easy On Me that is both powerful and moving. The arrangement captures the soul of Adele’s lyrics and melodies while introducing rich, orchestral textures that add a new dimension to the song. This sheet music allows you to bring that same majestic sound to your own performances, whether in a concert hall, studio, or classroom setting. What You’ll Find in This Sheet Music Complete Orchestral Score: The sheet music includes a full score, meticulously arranged to ensure that every instrument shines. Each part is crafted with precision, allowing musicians to deliver a flawless performance.Individual Parts for All Instruments: From strings to woodwinds, brass, and percussion, every section of the orchestra is represented. The individual parts are easy to follow, making it simple for musicians of all levels to perform together.Detailed Performance Notes: Paul Lorenz has included insights and tips on how to best bring out the emotion and dynamics of the piece. These notes are invaluable for conductors and musicians looking to deliver a performance that resonates with their audience. Why Choose Paul Lorenz’s Orchestral Arrangement? This sheet music is more than just notes on a page; it’s a gateway to an unforgettable musical experience. Paul Lorenz’s arrangement of Easy On Me has been praised for its innovative approach to orchestral music, combining classical techniques with contemporary elements. By choosing this sheet music, you’re not only adding a stunning piece to your repertoire but also embracing a composition that bridges the gap between pop and classical music. Perfect for Concerts, Recitals, and Special Performances This orchestral version of Easy On Me is ideal for a wide range of performances. Whether you’re planning a concert, a recital, or a special event, this piece will leave a lasting impression on your audience. Its universal appeal makes it suitable for diverse audiences, ensuring that everyone in attendance will be moved by the performance. Get Your Copy Today Don’t miss out on the opportunity to perform this beautiful and powerful orchestral arrangement of Easy On Me. Purchase your copy of Paul Lorenz’s sheet music today and take the first step towards an unforgettable performance. Available in digital and print formats, this sheet music is ready to be part of your next musical journey.

Small Ensemble Cello,Harpsichord,Violin - Digital Download SKU: A0.890771 Composed by Tomaso Giovanni Albinoni. Arranged by Sneakwood Editions. Baroque,Classical. Score and parts. 8 pages. Sneakwood Editions #4782289. Published by Sneakwood Editions (A0.890771). While in Venice, Pisendel met another of the great Italian composers of the time, Tomaso Albinoni. Albinoni, too, was captivated by the young virtuoso, to the extent that Pisendel returned to Dresden with three sonatas for violin and continuo copied by the Italian master himself. But, although we can assume that all three sonatas were dedicated in some way to Pisendel, it is the Sonata for violin and continuo in B flat Major that bears a special dedication on its frontispiece: Sonata a Violino solo di me Tomaso Albinoni Composta p[er] il Sig:[re] Pisendel. And not only this dedication but also certain musical aspects lead us to believe that the sonata in question may have been written specifically for Pisendel. The sonata goes beyond Albinoni’s usual technical requirements, exploring the upper register of the violin in a way that appears only rarely in other sonatas by this Italian. And, in the second movement, marked Allegro, we find an unusual and virtuoso use of triple stops in a fast semi-quaver rhythm. This singular effect is used by Albinoni in only one other work, the Concerto for violin and strings in C Major Co2, although with a strange and interesting nuance: of the versions of the concerto that remain we find this technique only in a manuscript version in Dresden, the version that Pisendel brought back from Italy in 1717 together with the sonata. Other versions of the concerto, such as the one published by Roger around 1717, or other manuscript versions do not contain the triple-stop passages. This suggests that they may be a personal touch added by Albinoni in recognition of Pisendel’s remarkable performing skills.