C Instrument - Level 4 - Digital Download SKU: A0.525280 By Take That. By Gary Barlow. Arranged by John Fries. 20th Century,Film/TV,Pop,Standards. Lead Sheet / Fake Book. 2 pages. John Fries #135818. Published by John Fries (A0.525280). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer. Back for Good is a song recorded by British band Take That. The song topped the UK Singles Chart, whilst also charting at number one in 31 countries, as well as hitting the top ten in many others (including the United States, making it their only hit in that country. Gary Barlow claims he wrote the song in fifteen minutes. The song was featured on the final episode of the second series of Spaced. If it touches people, it's a good song, remarked Noel Gallagher. .

Solo Guitar - Level 3 - Digital Download SKU: A0.1032084 Composed by Edwin Culver. 20th Century,Contemporary. Individual part. 4 pages. Edwin Culver #4347575. Published by Edwin Culver (A0.1032084). Classical Guitar Solo - IntermediateComposed by Edwin Culver (1992-) 4 Pages.  Duration 7'30Composer's note: Have you ever felt stuck? Trapped by something you can’t fully understand no matter how hard you try?  Perhaps it’s something from our past that we never invited...or something we’ve missed in our closest relationships, maybe it’s just the dread we’ve felt waking up early in the morning to repeat the daily grind.  We work hard to try and propel ourselves out of this nightmare, but we never seem to get totally free, in fact sometimes it feels like we’re just making ourselves feel worse by failing to overcome it yet again. This piece, ...a bridge a-way, exits within, represents that feedback loop, that stuckness.    The piece came to me when I felt stuck in life by several things - old scars, old habits, crippling emotions.  I had been wanting to write something in a minimalist style for the guitar for quite some time and the repetition found in so much minimalist music seemed like the obvious way for expressing this stuckness.  There’s constant motion in the piece, just like when we try to take constant action in our lives to improve our circumstances. But all this motion never seems to get us anywhere new. We’re spinning our wheels…But one of the interesting things about great minimalist music is that it’s not merely about repetition.  I don’t believe the greatest minimalists were concerned with having less stuff in their music for the sake of having less.  Instead, what I think they more often aimed for was producing the biggest emotional impact that they could through the tiniest of changes.  And if in your mind’s eye you zoom out from one of these minimalist masterworks and perceive it on a grand scale, you realize that despite all the seemingly redundant repetition in the moment the piece actually covers a huge distance because all those tiny changes add up.Likewise, in ...a bridge a-way, exits within, it seems like the performer can’t free himself from the territory of the first position on the guitar for the longest time.  Even when he does venture higher up the instrument he’s always inextricably pulled back to the starting point. But small changes can have a profound impact.It doesn’t feel like we’re making headway whenever we’re having to crawl out of our skin - until, suddenly, when it’s all over.  And you hear this towards the end of the piece, when there’s a sudden magnetic force that pulls the music from a low A to a high E-natural.  From A to E, a bridge to exits eternal. The bridge has been found within, in the One I’ve put my trust in, because I can’t reach my eternal destiny on my own.   This is ...a bridge a-way, exits within.

Piano Solo - Easy/Beginner - Digital Download Composed by Louis Landon. 21st Century, New Age. Sheet Music Single. 4 pages. Published by Landon Creative, Inc.

Jazz Combo - Level 4 - Digital Download SKU: A0.914431 By Horace Silver. By Horace Silver. Arranged by Bryan Starkweather. Jazz. Score and parts. 47 pages. Bryan Starkweather #5033477. Published by Bryan Starkweather (A0.914431). Nica's Dream for little big band. Originally written as a vocal chart, this was premiered at Barbara B Mann performing arts hall in 2017 by the Florida Southwestern State College Jazz Combo. Written for Alto, Tenor, Bari, Trumpet, Trombone, and Rhythm Secion, the Alto takes over as the feature instrument here instead of the vocal. There are some tricky segues making this a perfect college or all state/all county piece. Chords are included on piano and bass part.For comments, questions, corrections, or special requests, please email me at bryan32483@gmail.com for any and all info, or visit https://www.facebook.com/Canvas-Music-Productions-134274459972325/ I love hearing from my customers! I'm always happy to help in any way I can, including modifying a piece to suit your needs.

Small Ensemble B-Flat Clarinet,Euphonium,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.845277 Composed by Z Noskowski. Arranged by Phil Beaman. Concert,Romantic Period. Score and parts. 18 pages. Phil Beaman #6533123. Published by Phil Beaman (A0.845277). In 1897 the great Polish composer Zygmund Noskowski composed four characteristic pieces for piano, each piece evoking a different spring flower. This Instrumental Quintet arrangement is of N'oubliez pas! from Fleurs du Printemps, Op 48 (Forget-me-nots, from Flowers of Spring).As the name implies, it is expressive and melancholy. I have added considerable markings of articulation and dynamics and phrasing to bring out this expressiveness. There are numerous themes as it weaves between major and minor keys (without changing key signature). The upper three parts carry the melody and countermelodies, while part four is a moving arpeggiated line, and part five simply anchors the chordal root. Clarinet 1 carries the main melody with a wide range. Trumpet has the upper countermelody while Clarinet 2 takes the lower countermelody. Part 4, written in Bass Clef, can be played by Euphonium or Baritone Horn or Trombone, whoever is up to the challenge. The Tuba part is rather predictable. There is a fairly wide range (nearly 2 octaves) required in all of the parts.  Accessible for the average player yet with enough markings and nuances to satisfy expert players with the results. Definitely a concert piece to show musicianship.   8 page score, 2 pages @part, 18 pages total2:50 minutes

Full Orchestra - Level 5 - Digital Download SKU: A0.1359676 Composed by George Gershwin. Arranged by Arianna Cunningham, Darren Rodney. Classical,Film/TV,Historic,Jazz,Standards. 206 pages. Arianna Cunningham #944147. Published by Arianna Cunningham (A0.1359676). As many of you know, Rhapsody in Blue is one of George Gershwin's most famous and iconic pieces of music history, if not, of all time! But in case you guys don't know, there are actually 3 different versions of the same piece Gershwin wrote.These 3 versions include: The original Jazz Band 1924 version, 1927 version, and the most iconic well-known full symphony orchestra 1942 version that everyone plays nowadays. Not only that, but in the 1942 version, the extended part of the Shuffle Theme, as well as the extended Piano Cadenzas have been cut for duration time.So, in honor of Gershwin's Legacy, I've put together a special arrangement written for a full orchestra, and it even includes tons of heavy influences taken mostly from the 1924 version, even taking influences from different live performances that are inspired.These changes include the following:Adding back in the extended shuffle theme and Piano CadenzasAdded a Harp Part to make the arrangement a little Phil Spitalny Hour Of Charm-esque flavor to it.Brought back in the Bari Sax and Orchestral Piano parts, even though they sort of look different from the original score.Swapped a few solo/soli sections here and there while still keeping some of the 1924/42 elements (for instance the 2 Violin Soli, or Low Instruments Soli) in tact.You obviously get the idea.A huge thanks to one of my newest and closest friends who also have arranging experiences Darren Rodney for helping me put this incredible arrangement together!

Piano Solo - Level 4 - Digital Download SKU: A0.1000329 Composed by Johann Sebastian Bach, Paul Eber, and Steve Boudreau. Arranged by Steve Boudreau. 20th Century,Jazz,Sacred. Score. 2 pages. Steve Boudreau #6681051. Published by Steve Boudreau (A0.1000329). The Bach Chorales are ultimate examples of melodies creating harmonies, the parts coming together to form a whole. They are also great examples of a musician taking a melody and making a new arrangement of it, like jazz musicians do today. This piece is a combination of two chorale melodies that Bach arranged, originally based on hymns by 16th-century composer Paul Eber. For context, Bach set the melody around 200 years after it was written, and I re-worked the melodies with my own harmonies nearly 300 years after that.The first job I had when I moved back to Ottawa from Boston was as a church pianist. At one point there was a two-month stretch where I was in charge of programming the instrumental music we played, and I challenged myself to come up with new arrangements every week- the way Bach would have in his time, just on a much smaller scale. This was a terrific creative outpouring of music for me, and it renewed my enormous respect for the church music community and the work involved.For this piece I took two seemingly unrelated chorales (they are actually from the same Cantata, BWV 127) and attached them, using their distant keys of A Major and F Major to set up an interesting modulation halfway through. I had to actively try out some more modern harmonic progressions to take the overall sound of the piece further away from Bach's version. One of my favourite moments is when you finish the C major resolution and then repeat back into F# Minor at the top for improvising. In the solo piano version this surprising cut doesn't occur unless you take a second pass through the piece, so I encourage you to try repeating the piece even if you don't feel comfortable embellishing or changing anything the second time around.

SATB choir and Piano - Medium - Digital Download SKU: MQ.1.3610-E Composed by Kyle Pederson. African American Heritage. Instrument part. 22 pages. Galaxy Music Corporation - Digital #1.3610-E. Published by Galaxy Music Corporation - Digital (MQ.1.3610-E). English. From the arranger, Kyle Pederson To me, spirituals are the most powerful type of music. Spirituals were birthed and rooted in the experience of chattel slavery in the United States—and arose out of, as Arthur C. Jones asserts, “deeply meaningful, archetypically human experiences, relevant not only to the specific circumstances of slavery but also to women and men struggling with issues of justice, freedom, and spiritual wholeness in all times and places.� The original text of Soon Ah Will Be Done is as follows: Soon ah will be done with the troubles of the world (repeat) Goin’ home to live with God No more weeping and a-wailing (repeat) Goin’ home to live with God I want t’ meet my mother (repeat) Goin’ home to live with God I want t’ meet my Jesus (repeat) Goin’ home to live with God When I sang this spiritual growing up, I was struck by both the withering sorrow and expectant hope throughout. The melody and emotion has stuck with me since. When approaching my own arrangement, I hoped to honor the voice of the original writers and their experience of slavery, and I also sought to extend a voice to people today who are suffering from oppression and discrimination. I hoped an appropriate way to honor the experience of the original writers might be to invite the contemporary listener to envision and commit to a better, more just world today—a world of inclusion, radical kindness, compassion, love, and grace—a world where we have the courage to champion the inherent dignity and value of all people, a world where we will be done with all the ways we deny a person’s worth. A world where “heaven has come to earth.� In this arrangement, spoken word is incorporated throughout, intended to heighten the intensity of the performance, and meant to give a sense of immediacy to the challenge for the choir and audience to work together for justice, equity, and wholeness. Spoken word has often been used as the language of protest—and I include it intentionally as a way of giving voice to the choir members (and listener)—where all can stand in solidarity against oppression and injustice. If desired, choir members are encouraged to write their own spoken word text that speaks to issues of inequity and injustice in their own communities. I am writing this program note not long after George Floyd was killed in Minneapolis, MN, on May 25, 2020. As a Minneapolis area resident for the past 25 years, I want to take a more active role in working towards justice in my community. All proceeds received from the sale and performance of Soon We Will Be Done will be directed to ISAIAH—a multi-racial, state-wide, nonpartisan coalition of faith communities fighting for racial and economic justice in Minnesota. You can read more about the phenomenal work ISAIAH is doing at isaiahmn.org.

C Instrument - Level 4 - Digital Download SKU: A0.499878 Composed by Irving Mills and Nat King Cole. Arranged by John Fries. 20th Century,Jazz,Standards. Lead Sheet / Fake Book. 1 pages. John Fries #113145. Published by John Fries (A0.499878). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer.  Straighten Up and Fly Right is a 1943 song written by Nat King Cole and Irving Mills and one of the first vocal hits for the King Cole Trio. It was the trio's most popular single, reaching number one on the Harlem Hit Parade for ten nonconsecutive weeks. The song was based on a black folk tale that Cole's father had used as a theme for one of his sermons. In the tale, a buzzard takes different animals for a joy ride. When he gets hungry, he throws them off on a dive and eats them for dinner. A monkey who had observed this trick goes for a ride; he wraps his tail around the buzzard's neck and gives the buzzard a big surprise by nearly choking him to death.

Woodwind Ensemble,Woodwind Trio Clarinet,Flute,Oboe - Level 3 - Digital Download SKU: A0.811700 Composed by Joseph Bodin De Boismortier (1689 - 1755). Arranged by Edited & arranged by Pat Spence. Baroque,Concert,Standards. 24 pages. Piper Publications #4310185. Published by Piper Publications (A0.811700). The sonata is the first of a set of six published in Paris in 1725 by L’Auteur & Boivin ‘Avec Privilege du Roy.1725.’ The title page described them as ‘SONATES EN TRIO pour Trois Flûtes Transversieres sans Basse Par MR BOISMORTIER. OEVRE SEPTIÈME.’ The publication consisted of a set of parts each with the title page followed by a copy of the  Privilége granted by King Louis to Boismortier to print and sell his music. There are 5 movements, Gravement, Allemande Gayment, lentement, Gavotte en rondeau & Gayment. Players of Intermediate standard will enjoy playing this music. Obvious mistakes and omissions have been corrected without comment, trills have been added where there is for e.g. a sequence where only the first trill has been indicated or a similar passage has a trill in that part or another part. The more modern tr has been substituted for + and the mordant used on shorter notes retained. No dynamics were included in the original and none have been added.  Players should feel free to add their own.  For the arrangement some changes of register have been made to accommodate the ranges of the oboe and clarinet and additional slurs have been added (dashed lines). Players are free to retain the ‘feel’ of early eighteenth century style whilst playing modern instruments. The original publication used the, now defunct, soprano clef (with G on the bottom line of the stave) and this edition has been transcribed into the modern treble clef. In the eighteenth century it was quite usual for wind players to play several instruments. The use of the soprano clef would have made it easier to switch between flute and bassoon.

Violin Solo - Level 5 - Digital Download SKU: A0.845988 By Van Halen. By Alex Van Halen, David Lee Roth, Eddie Van Halen, and Michael Anthony. Arranged by Kyle Pudenz. Metal,Rock. 3 pages. ViolinVagabond Music #6332317. Published by ViolinVagabond Music (A0.845988). One of the most iconic guitar solos of all time, written by one of the most influential guitarists in history, and now arranged for violin!!As a violinist who has extensively studied both the classical & rock genres, I made it my goal to be as faithful to EVH's original performance as possible, while also making this version more adaptable to the different virtuosic techniques available to violinists. We may not be able to tap out those signature arpeggios with 2 hands, but arpeggiating them with the bow creates a similar texture with a distinctly more violin-friendly approach! I've also used octave transpositions and re-voiced some of the chords to make them more adaptable to the violin's range without feeling chopped up.The result: a fresh take on this timeless solo that can be performed on any standard violin. No need for extra strings or electronics (though I'll admit, it will probably sound pretty awesome on an electric violin...) and no need to re-tune your instrument. This version is written a half-step higher than the original recording in concert A. If you want to match the original key of the Van Halen recording (Ab), you can tune a half-step down like Eddie does, and just read this chart exactly as written.Whether you're looking for a new encore or intro for your next solo performance, or just want to learn a few new licks from one of the greatest rock n' roll musicians of all time, this tune is a fantastic addition to the repertoire of any violinist looking to reach a bit beyond the norms of the classical tradition!Performance time: approximately 1:50 (the tapping section feels better at a slightly slower tempo on violin)Enjoy the chart, and if you have questions, comments or suggestions, you can contact me via my website www.kylepudenz.com/ or on Instagram @theviolinvagabond

Instrumental Duet,Piano Flute,Instrumental Duet,Oboe,Piano - Level 4 - Digital Download SKU: A0.837511 Composed by Brett L. Wery. 20th Century,Concert,Contemporary. Score and parts. 56 pages. Sonata Grendel Publishing #6599293. Published by Sonata Grendel Publishing (A0.837511). An Avaloch Divertimento was begun-in fact the first two movements were completed-at the Avaloch Farm Music Institute in New Hampshire. Avaloch or Abhlach, is from the old Irish word meaning, place of the apple trees. The sacred Isle of the Apple Trees, Avalon-where Arthur, King of the Britons, was taken to be healed of his dreadful wounds-takes its name from this ancient word. Avaloch Farm Music Institute (AFMI) in New Hampshire is also a magical place where chamber music groups come to work and create in an atmosphere free from the distractions of everyday life. In the summer of 2021 I had the pleasure and honor of being a resident of AFMI along with Areli Mendoza-Pannone, Robert Frazier, and Mark Evans as we work-shopped my song cycle, Quarry Songs. Areli, Bobby, and Mark had to go back to the real world half way through the residency, leaving me at AFMI to begin work on An Avaloch Divertimento. The first movement is an Aubade, which are traditionally morning love songs-as opposed to evening love songs or serenades. In the seventeenth century aubades became associated with instrumental works depicting sunrises. It is this sense of the word that is used here, complete with a bird-song oboe cadenza. Pippin takes its name from a variety of apple. While at AFMI I would take afternoon walks through the nearby apple orchard to beautiful Walker Pond. It was on one of these walks that I came up with the first draft of the tune used in the central fughetta of the movement. The word, pippin is also included in Carolyn Forché’s poem, The Museum of Stones, which I had set as the final movement of Quarry Songs. The final movement, Amhrán, means song in Irish and is a simple song form with three interwoven themes that emulate the Irish Bodhran (frame drum), fiddle, and singer. Many thanks to Board Chair, Alfred Tauber, Artistic Director, Deborah Sherr, and Operations Director, Hannah Landes and the whole AFMI staff for creating such a wonderful refuge for musicians to work, learn, and create. Learn about Avaloch Farm Music Institute at www.avalochfarmmusic.org. Learn about more compositions by Brett L. Wery at www.BRETTLWERY.com. Duration: 12 minutes

Piano Solo - Early Intermediate - Digital Download By a-ha. Arranged by Flavio Regis Cunha. Score. 6 pages. Published by Flavio Regis Cunha