High Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.962899 Composed by Sonny Rios. Concert,Contemporary,Holiday,Love,Wedding. 4 pages. Sonny Rios #3924883. Published by Sonny Rios (A0.962899). BECAUSE OF YOU: This love-song, in the classical crossover genre, was written and composed by Sonny Rios for solo High Voice. It is in English and has a range of C4-Bb5. The song is suited for concert usage or UIL competitions. The song has been registered with the US Copyright Office and ASCAP. This song may be obtained in a fully orchestrated accompaniment CD with and without English lead vocals by emailing: tenor@sonnyrios.com. And if you wish to record this song, you may obtain a license by emailing tenor@sonnyrios.com.

Piano and voice - Digital Download SKU: LV.13880 Composed by Edwin P. Christye. Portraits, Musicians, Banjos, Entertainment, Exhibitions, Circuses & shows, Slavery, George Washington, Captain Ingraham, Patriotism. Lester S. Levy Collection. 6 pages. Published by Johns Hopkins University Sheridan Libraries (LV.13880). Christy's, The Other Side of Jordan (Authorized Edition). na [Edwin P. Christye?]. Published 1853 by William Hall & Son, 239 Broadway in New York. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Portraits, Musicians, Banjos, Entertainment, Exhibitions, Circuses & shows, Slavery, George Washington, Captain Ingraham, Patriotism. First line reads O all the banjo songs that have been sung of late, There is none that is now so often call'd on.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.

String Orchestra - Level 5 - Digital Download SKU: A0.942953 Composed by Geoffrey Peterson. Contemporary. Score and parts. 43 pages. Geoffrey Peterson #4267231. Published by Geoffrey Peterson (A0.942953). Link to complete recording: https://soundcloud.com/geoffrey-peterson/sets/the-edmund-fitzgerald-concerto On November 9th, 1975, the S.S. Edmund Fitzgerald left port in Superior, Wisconsin. The 729-foot-long iron ore carrier, loaded with 26 thousand tons of taconite pellets for the auto industry, was bound for Detroit. Earlier that day, the weather service had issued a gale warning. This was not unusual, considering that gale storms are typical during November on Lake Superior. The Fitzgerald’s Captain, Ernest McSorley, and her 29-member crew headed northeast unaware of the maelstrom they would soon encounter. At around 2 a.m., Bernie Cooper, captain of the Arthur M. Andersen, another freighter which was following a few miles behind the Fitzgerald, radioed Captain McSorley to consult with him about the worsening storm. They had both decided to take a more northerly route along the Canadian shore, which they hoped would provide some shelter from the violent gale winds and waves. The Fitzgerald’s long-range radar stopped working the following day and was needed in order to avoid Six-Fathom Shoal, a shallow area of Lake Superior that could rupture the ship’s hull. McSorley soon radioed the Anderson to report that the Fitzgerald had sustained some topside damage...a fence rail down, two vents lost or damaged, and a starboard list. A list meant that the Fitzgerald was taking on too much water and was causing it to lean to one side. The short-range radar also stopped working, and the radio direction beacon from nearby Whitefish Point vanished. This would make it impossible for the Fitzgerald to reach the lee waters of Whitefish Bay and escape the 80 mph winds churning 20 to 30-foot waves. At 7:10 p.m. that night, First Mate Morgan Clark of the Andersen radioed the Fitzgerald to see how they were doing. Captain McSorley replied, We’re holding our own. This was the last contact anyone would have with the Fitzgerald. Shortly thereafter, the Edmund Fitzgerald disappeared from the Anderson’s radar screen. All 29 of her crew were lost on November 10th, 1975. The Edmund Fitzgerald chronicles the tragic final voyage of the well-known shipwreck in 4 movements; Embarkment, The Gales, Six-Fathom Shoal (We’re holding our own.) and Entombment-Dirge. The concerto makes use of several musical quotes. The first is Spanish Ladies, an English sea chantey, which appears in both the 1st and 3rd movements. The second is the funeral march theme from the 2nd movement of Beethoven’s 3rd Symphony which is heard in the 4th movement of the concerto. In addition, a chime is rung 29 times during the final bars of the concerto to memorialize the men who lost their lives. The Crew of the S.S. Edmund Fitzgerald: Michael E. Armagost, Frederick J. Beetcher, Thomas D. Bentsen, Edward F. Bindon, Thomas D. Borgeson, Oliver J. Champeau, Nolan S. Church, Ransom E. Cundy, Thomas E. Edwards, Russell G. Haskell, George J. Holl, Bruce L. Hudson, Allen G. Kalmon, Gordon F. MacLellan, Joseph W. Mazes, John H. McCarthy, Ernest M. McSorley, Eugene W. O'Brien, Karl A. Peckol, John J. Poviach, James A. Pratt, Robert C. Rafferty, Paul M. Riippa, John D. Simmons, William J. Spengler, Mark A. Thomas, Ralph G. Walton, David E. Weiss, Blaine H. Wilhelm.

Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.939673 Composed by Richard St. Clair. 20th Century,Contemporary. Octavo. 13 pages. Richard St. Clair #3000545. Published by Richard St. Clair (A0.939673). These words were composed by Genshin Shonin (Japan, 11th c. CE), one of the seven Pure Land Masters named by Shinran Shonin (Japan, 1173-1262), founder of the Jodo Shinshu sect of True Shin Buddhism. The MP3 Audio File is a computer-generated soundfile. Duration, about 5 minutes.Lyrics:Dharma Words at Yokawa by Genshin Shonin (942-1017)It is a great joy for us sentient beings to escape from the three evil realms and be born as humans. Even if our status in society is low, could it be worse than the state of animals? Even if we are born in a poor family, we are in a far better condition than hungry spirits. Even if our wishes are not fulfilled, our suffering cannot be compared with the tortures of hell. We should not sorrow over unhappiness in this life; we should consider our lower social position as an incentive to seek Enlightenment. For this reason, we should rejoice at having been born as humans.Even though the mind of faith is shallow, anyone who takes refuge in Amida Buddhawill unfailingly attain birth, because the Original Vow is sdeep. Even though the Nembutsu comes from a reluctant heart,anyone who recites it never fails to see Amida welcoming him to his Pure Land; so great is the merit of the Nembutsu. For this reason, we should rejoice at having encountered the Original Vow.Delusion is the nature of ordinary beings. Apart from delusion, there is no mind in us. If we recite the Nembutsu while resigned to the fact that we are to remain ordinary beings full of delusion until death, we shall be received in welcome by Amida; then, as soon as we mount the lotus seat, our mind of delusion will be turned into that of Enlightenment. The Nembutsu that is uttered with the mind of delusion is like a lotus flower unstained by the muddy water. There should not be any doubt as to our attainment of birth.We should not be concerned about our delusion, but reflecting on the shallowness of our mind of faith, continually recite the Name in earnest.

Piano Solo - Digital Download SKU: A0.1033214 Composed by Mark Wilson. Contemporary. Score. 27 pages. Mark Wilson #6268685. Published by Mark Wilson (A0.1033214). When my friend, the composer and pianist Neil Crossland, asked me to write a work for him to perform, he requested that I give the piece a distinctly Scottish flavour. Perhaps as a consequence, hailing from Scotland as I do, the resulting work is distinctly autobiographical in nature. This is a challenging piece, aimed at advanced players. The four movements reflect the preoccupations of four stages of (my) life as seen in hindsight. The word dimensions in the piece's title refers to facets of my own character. The first movement, Complications, represents the self-image of the young. The music is adventurous and academic, full of the potential of a life yet to be lived and the earnest self obsession of youth. The second movement, Romance, is the search for love, though seen through the lens of memory and therefore touched with sadness. The third, Transience, shows the uncertainties of middle age, so full of frustration and of nostalgia. This movement contains my setting of the Jacobian poem Will Ye No Come Back Again?. The last movement, Revelry, blows away the uncertainties of the third movement with the driving energy of a Scottish reel. Perhaps increasing age brings a certain perspective; what does it matter if you have more past than future? Just get up and dance and let Dr. Music sweep your cares away. The piece features a musical fragment (first heard in bar 26 of the first movement) which has been the cause of much amusement between Neil Crossland and myself over the years. Neil has been composing music since his teens but the art has only much more recently become a big part of my life. However, musical ideas have always had a tendency to come into my head and, several years ago, I decided to play these two bars to Neil. Every so often, in the years that followed, he would teasingly ask me how my new piece was coming on, knowing full well that I'd have to admit that my magnum opus was still only two bars long! By setting the melodic fragment at the heart of this composition I have finally ensured that he can tease me about it no longer. More importantly, I hope that Neil enjoys our little in-joke.The audio file for this work is beautifully performed by the work's dedicatee, Neil Crossland.

Piano Quintet Cello,Piano,Viola,Violin - Level 5 - Digital Download SKU: A0.1129014 Composed by Igor Korneitchouk. 20th Century,Chamber,Contemporary. 57 pages. Studio at the Post #729537. Published by Studio at the Post (A0.1129014). Parts only (see A729534 for Score) Duration: 8 minutes, 5 Parts (2 violins, viola, cello, piano) with individual directions, parts averaging 5 – 7 pp. Description: When John Cage first invented the concept of prepared piano it was an invention born of necessity. (To realize his ideas Cage needed a percussion ensemble to accompany the dance troupe with which he worked. His solution to the impracticability of this was to create various percussion-like timbres from the studio piano which all dance spaces have.) In Heisenberg... all the instruments are engaged in a music made up of sound effects and unusual timbres; but because all the effects, in the case of the string instruments, must come from a limited number of strings, the preparation of these instruments are mutable — throughout the piece the performers are constantly preparing and un-preparing their instruments. This principle of mutable preparation has been carried over to the piano as well and thus the performance takes on the characteristic of an alien dance as a great deal of the work involves the logistics of setting up each succeeding phrase. Werner Heisenberg's great contribution to modern science is the Uncertainty Principle — the realization, expressed mathematically, that even in the hard sciences of physics and chemistry one could never be sure of anything. (According to The New Columbia Encyclopedia) “Werner Heisenberg — German physicist. One of the founders of the quantum theory, he is best known for his uncertainty principle, or indeterminacy principle, which states that it is impossible to determine with arbitrarily high accuracy both the position and momentum (essentially velocity) of a subatomic particle like the electron. The effect of this principle is to convert the laws of physics into statements about relative probabilities instead of absolute certainties.� (He won the Nobel Prize in Physics in 1932.).

Piano Quintet - Level 5 - Digital Download SKU: A0.1129011 Composed by Igor Korneitchouk. 20th Century,Chamber,Contemporary. 33 pages. Studio at the Post #729534. Published by Studio at the Post (A0.1129011). Score only (see 729537  for Parts) Duration: 8 minutes, 19 pp. Description: When John Cage first invented the concept of prepared piano it was an invention born of necessity. (To realize his ideas Cage needed a percussion ensemble to accompany the dance troupe with which he worked. His solution to the impracticability of this was to create various percussion-like timbres from the studio piano which all dance spaces have.) In Heisenberg... all the instruments are engaged in a music made up of sound effects and unusual timbres; but because all the effects, in the case of the string instruments, must come from a limited number of strings, the preparation of these instruments are mutable — throughout the piece the performers are constantly preparing and un-preparing their instruments. This principle of mutable preparation has been carried over to the piano as well and thus the performance takes on the characteristic of an alien dance as a great deal of the work involves the logistics of setting up each succeeding phrase. Werner Heisenberg's great contribution to modern science is the Uncertainty Principle — the realization, expressed mathematically, that even in the hard sciences of physics and chemistry one could never be sure of anything. (According to The New Columbia Encyclopedia) “Werner Heisenberg — German physicist. One of the founders of the quantum theory, he is best known for his uncertainty principle, or indeterminacy principle, which states that it is impossible to determine with arbitrarily high accuracy both the position and momentum (essentially velocity) of a subatomic particle like the electron. The effect of this principle is to convert the laws of physics into statements about relative probabilities instead of absolute certainties.� (He won the Nobel Prize in Physics in 1932.).

Brass Quartet - Level 3 - Digital Download SKU: A0.1414548 Composed by Chloe Powell. 21st Century,Chamber,Classical,Contemporary. 16 pages. Chloe Powell #996325. Published by Chloe Powell (A0.1414548). Linear Moments is based on the mathematical concept of the same name. The piece takes you through the various aspects of L-moments and their associated concepts. The piece begins with a Sloping melody distributed through each part. It then moves into a chaotic progression which devolves into a volatile state between the flugel and euphonium. The solo flugel is joined by two other flugels to reinforce a sense of order before crashing into discordant uncertainty. This uncertainty is heightened by the entrance of the euphonium for a hectic tonal melody descending into the latter half of the piece. A flugel and trumpet canon emerges to drives the piece into its final quantile region , before progressing into a non-dimensional cadence, leaving the audience with a sense of certainty and order. My Website

Brass Quartet Euphonium,Flugelhorn,Trumpet - Level 3 - Digital Download SKU: A0.1414553 Composed by Chloe Powell. 21st Century,Chamber,Classical,Contemporary. 24 pages. Chloe Powell #996330. Published by Chloe Powell (A0.1414553). Linear Moments is based on the mathematical concept of the same name. The piece takes you through the various aspects of L-moments and their associated concepts. The piece begins with a Sloping melody distributed through each part. It then moves into a chaotic progression which devolves into a volatile state between the flugel and euphonium. The solo flugel is joined by two other flugels to reinforce a sense of order before crashing into discordant uncertainty. This uncertainty is heightened by the entrance of the euphonium for a hectic tonal melody descending into the latter half of the piece. A flugel and trumpet canon emerges to drives the piece into its final quantile region , before progressing into a non-dimensional cadence, leaving the audience with a sense of certainty and order.My Website

Mezzo-Soprano Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.1186002 Composed by Wolfgang Amadeus Mozart. Arranged by Nicole Elyse DiPaolo. Classical,Opera. 10 pages. Nicole Elyse DiPaolo #785660. Published by Nicole Elyse DiPaolo (A0.1186002). The first of its kind, this is a much more readable and sight-playable piano/vocal reduction of Ah, scostati!...Smanie implacabili,� Dorabella’s first aria from Mozart’s Così fan tutte (1790). The sextuplets in the right hand found in most standard reductions have been condensed into triplets with a grace note, emphasizing that the gestural shape is what needs to be heard rather than every individual note, and the result is a much clearer and less note-filled score for the audition pianist. Some large spans in the left hand have also been reduced out and redistributed for more ergonomic playing on long audition days. When a grace note has an accidental that is then repeated later in the gesture, I’ve rewritten that accidental on the full-size note containing it for ease of reading (so the cue-size accidental is not the only indication of said accidental in the measure, which would make it too easy to miss). The recitative “Ah, scostati!� is also included with slight alterations and courtesy accidentals in the melodic minor scales.As with any Accessible Accompaniments edition that’s not also an audition/solo cut, I suggest bringing two copies to each audition: one Accessible Accompaniment and one copy of a standard edition. Audition pianists who don’t know the aria will almost always choose the cleaner look of the Accessible Accompaniment, but those who know “Smanie� well might prefer to play from the edition they learned it from. This will provide singers and their audition pianists every chance of a successful collaboration.All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged� with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim� accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composer’s markings, when needed, I have included additional courtesy accidentals.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. 5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.6. I’ve also replaced text “cresc.� and “dim.� markings with hairpins, which are easier to see in high-pressure sight-reading situations.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 .

Trombone Solo - Level 2 - Digital Download SKU: A0.1273300 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Milanov. Film/TV,Singer/Songwriter. Individual part. 3 pages. Milanov #865450. Published by Milanov (A0.1273300). What Was I Made For? From Barbie by Billie Eilish for trombone. Easy intermediate. Chords.What Was I Made For from Barbie by Billie Eilish is a melancholic ballad about feeling lost and uncertain about one's identity. The lyrics explore themes of existentialism, anxiety, and depression. The song's production is sparse and atmospheric, with Eilish's vocals taking center stage. The overall effect is a haunting and introspective track that will resonate with anyone who has ever felt lost or alone. The song ends with a sense of resignation, as Eilish sings, I guess I'll just keep on floating. However, the song's message is ultimately one of hope, as it suggests that even in the midst of uncertainty, there is still beauty to be found.

Tuba Solo - Level 2 - Digital Download SKU: A0.1273303 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Milanov. Film/TV,Singer/Songwriter. Individual part. 3 pages. Milanov #865454. Published by Milanov (A0.1273303). What Was I Made For? From Barbie by Billie Eilish for tuba. Easy intermediate. Chords.What Was I Made For from Barbie by Billie Eilish is a melancholic ballad about feeling lost and uncertain about one's identity. The lyrics explore themes of existentialism, anxiety, and depression. The song's production is sparse and atmospheric, with Eilish's vocals taking center stage. The overall effect is a haunting and introspective track that will resonate with anyone who has ever felt lost or alone. The song ends with a sense of resignation, as Eilish sings, I guess I'll just keep on floating. However, the song's message is ultimately one of hope, as it suggests that even in the midst of uncertainty, there is still beauty to be found.

B-Flat Clarinet,Piano - Level 2 - Digital Download SKU: A0.1273327 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Milanov. Film/TV,Singer/Songwriter. Score and part. 6 pages. Milanov #865480. Published by Milanov (A0.1273327). What Was I Made For? From Barbie by Billie Eilish for clarinet and piano accompaniment. Easy intermediate. Chords.What Was I Made For from Barbie by Billie Eilish is a melancholic ballad about feeling lost and uncertain about one's identity. The lyrics explore themes of existentialism, anxiety, and depression. The song's production is sparse and atmospheric, with Eilish's vocals taking center stage. The overall effect is a haunting and introspective track that will resonate with anyone who has ever felt lost or alone. The song ends with a sense of resignation, as Eilish sings, I guess I'll just keep on floating. However, the song's message is ultimately one of hope, as it suggests that even in the midst of uncertainty, there is still beauty to be found.

Alto Saxophone Solo - Level 2 - Digital Download SKU: A0.1273294 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Milanov. Film/TV,Singer/Songwriter. Individual part. 3 pages. Milanov #865444. Published by Milanov (A0.1273294). What Was I Made For? From Barbie by Billie Eilish for alto sax. Easy intermediate. What Was I Made For from Barbie by Billie Eilish is a melancholic ballad about feeling lost and uncertain about one's identity. The lyrics explore themes of existentialism, anxiety, and depression. The song's production is sparse and atmospheric, with Eilish's vocals taking center stage. The overall effect is a haunting and introspective track that will resonate with anyone who has ever felt lost or alone. The song ends with a sense of resignation, as Eilish sings, I guess I'll just keep on floating. However, the song's message is ultimately one of hope, as it suggests that even in the midst of uncertainty, there is still beauty to be found.

C Instrument - Level 3 - Digital Download SKU: A0.1273490 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Milanov. Film/TV,Singer/Songwriter. Lead Sheet / Fake Book. 3 pages. Milanov #865626. Published by Milanov (A0.1273490). What Was I Made For? From Barbie by Billie Eilish for string lead sheet. Intermediate. What Was I Made For from Barbie by Billie Eilish is a melancholic ballad about feeling lost and uncertain about one's identity. The lyrics explore themes of existentialism, anxiety, and depression. The song's production is sparse and atmospheric, with Eilish's vocals taking center stage. The overall effect is a haunting and introspective track that will resonate with anyone who has ever felt lost or alone. The song ends with a sense of resignation, as Eilish sings, I guess I'll just keep on floating. However, the song's message is ultimately one of hope, as it suggests that even in the midst of uncertainty, there is still beauty to be found.