Jazz Combo - Level 4 - Digital Download SKU: A0.970761 Composed by Mike Strand, ASCAP. Blues,Jazz. Score and parts. 6 pages. Michael M. Strand #6136125. Published by Michael M. Strand (A0.970761). Mike Strand, ASCAPThis is a lead sheet with lyrics, chords and guitar fret boards, for a jazz group, small, or large, with singer or solo instruments. It serves as a good basis for a variety of arrangements, contra facts, and improvisations.The audio sample is a jazz quintet: A slow swing jazz accompaniment from iReal Pro, combined with my duet tunes from Finale PrintMusic. In this sample, a flute takes the accompaniment (treble clef), with a baritone sax in the bass clef. The main tune (bass clef) is accompanied, making this an unusual duet lead sheet. For example, a flute may accompany a baritone singer. An option is to interchange the voice roles (e.g., main tune octave higher, accompaniment octave lower), or use one of the tunes of the duet by itself. I wrote this piece in honor of immigrants, in recognition of the courage it takes to move to a new country and learn a new language. New immigrants often go through difficulties and setbacks, including persecution from citizens of their adopted country. This, despite the recent immigrant ancestry of most of the persecutors, notably in the USA. In the subtitle of Immigrant Blues, I recognize my own immigrant ancestors, and also Anders LundegÃ¥rd, who, like my paternal grandparents, moved to the USA from Sweden. Anders helped me with this piece, with his reviews and comments. **Here are the lyrics for Immigrant Blues: 1. Moving to the U. S., far away. Life here is so bad, I will not stay. Talked to Mom and Dad, they said OK. I want to make a place for them some day. 2. First time in the States was no picnic. Half the time no work, and I got sick. Some folks try to help, while others scoff. I have friends, but others put me off. 3. Looking bright and able, that’s my plan. Taking ESOL classes when I can. Learning English is no easy chore, And I want my folks here, that’s for sure.   And I want my folks here, that’s for sure. Oh, yeah!

Percussion - Beginning; Intermediate; Advanced - Digital Download SKU: M0.30398MEB Composed by Aquiles Priester. Percussion: Snare Drum. E-book and online audio. Mel Bay Publications - Digital Sheet Music #30398MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.30398MEB). ISBN 9781619116764. 8.75x11.75 inches.Usually books become movies. The history of the seventh art is so filled with examples that it's not worth citing one specific movie. That is the natural order of things. But what when this natural order is inverted and the movie becomes a book? That is what happened with drummer Aquiles Priester. After releasing two videos where he shows his unbeatable technique, in 2013 he released Aquiles Priester's Top 100 Drum Fills, a selection of fills that he recorded with the various bands he played in - Hangar, Angra, Freakeys. So, during the recording other fills were created and, as they were interesting ideas, they ended up being included in the package. This resulted in 150 fills, 100 of which were selected for the video - 25 ended up being included as bonus tracks, including themes with Hangar, Tony MacAlpine and Midas Fate. Like everything else he does, success was immediate. The video was voted Best Educational DVD of The Year by the renowned North-American magazine Modern Drummer, another feat for a musician used to accumulating similar feats. Now Aquiles Priester's Top 100 Drum Fills has just become a book. Many people asked me for the scores of the fills shown in the video, says Aquiles, and as I had almost everything written down, I decided to make their lives easier. It is another release by a musician used to breaking barriers as in 2011, when he became the only drummer in Brazilian history to enter the ranking of Modern Drummer magazine as 5th best prog metal drummer of the world, next to names like Neil Peart, Mike Portnoy, Gavin Harrison and Marco Minnemann. In 2015 Aquiles was once more nominated to take part of another poll and was elected best drummer in the hard rock category by the North-American magazine Drum!. More than that, he was also the first Brazilian drummer to have signature instruments released by manufactures such as Paiste, Pro-Mark and Mapex, besides having built a solid international career accompanying renowned musicians such as Tony MacAlpine and Vinnie Moore and being part of one of the biggest revelations of Brazilian metal in the last ten years, the band Noturnall. Includes access to online audio.

By Kathy Mattea. Arranged by Ray-Michael Kauffman. Individual Part, Score, Set of Parts, Sheet Music Single, Solo Part. 28 pages. Published by a " do Ray me " flute studio production

String Quartet String Quartet - Level 4 - Digital Download SKU: A0.742881 By John Legend. By John Stephens and Toby Gad. Arranged by Aled Jones. R & B,Soul. Score and parts. 23 pages. Aled Jones #3124465. Published by Aled Jones (A0.742881). This arrangement of John Legend's All Of Me, takes it's inspiration from the original recording while passing the melody between the instruments and creating variety through different textures. The parts are equally challenging, with interest for each part throughout making it a satisfying and enjoyable arrangement to perform and listen to.Duration ~4'30This arrangement was originally produced for Quartet Voluté. Get in touch with us at www.quartetvolute.com to find out more.

Guitar - Intermediate - Digital Download SKU: ZY.DO-1522 Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. 5 pages. Les Editions Doberman-Yppan (digital) #DO 1522. Published by Les Editions Doberman-Yppan (digital) (ZY.DO-1522). Francis Bebey est né à Douala en juillet 1929, dans une grande famille où son père, pasteur, luttait pour nourrir ses enfants. Mais Francis a eu l'opportunité d'aller à l'école. Admirant son frère aîné, Marcel Eyidi Bebey, il s'est éduqué, s'est distingué, et a finalement reçu une bourse pour passer son baccalauréat en France.Nous approchions de la fin des années 1950 lorsqu'il est arrivé à La Rochelle. Plus que jamais, dans cette France où les Africains étaient regardés avec curiosité, condescendance ou dédain, Francis s'appuyait sur ses ressources intellectuelles. Travailleur assidu, il a obtenu son baccalauréat, puis s'est installé à Paris où il a commencé des études d'anglais à la Sorbonne. Un jour, il a su ce qui l'attirait vraiment : il voulait faire de la radio. Francis a appris son métier en France et aux Ã?tats-Unis.Après avoir travaillé quelques années comme reporter, il a été embauché en 1961 en tant que fonctionnaire international au Département de l'information de l'UNESCO.Parallèlement, Francis a toujours été attiré par la création musicale. Son activité diurne très sérieuse ne l'empêchait pas de fréquenter les clubs de jazz le soir. Ã? Paris, le jazz, la musique à la mode à cette époque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait à de nombreux concerts. Avec son complice Manu Dibango, Francis montait sur scène et jouait de la musique.Francis aimait la musique classique depuis son enfance. Il avait grandi en écoutant les cantates et les oratorios de Bach ou Handel que son père chantait au temple. Il s'est passionné pour la guitare, impressionné par les maîtres espagnols et sud-américains, et a décidé d'apprendre à jouer de l'instrument lui-même.Il a commencé à composer des pièces pour guitare, mêlant les diverses influences qui le traversaient avec la musique traditionnelle africaine qu'il portait en lui depuis son enfance. Son approche a captivé le directeur du Centre culturel américain (alors situé dans le quartier de Saint-Germain à Paris), qui lui a offert l'opportunité de se produire devant un public. Francis y a donné son premier récital de guitare (1963) devant un public hypnotisé. Son premier album solo est sorti peu de temps après.Progressivement, Francis est devenu reconnu comme musicien et compositeur. Plusieurs albums de l'ambassadeur africain de la guitare, comme le décrivait la presse, sont sortis. Il a également écrit des livres, au point que sa carrière artistique est devenue difficile à concilier avec sa carrière de fonctionnaire. En 1974, même s'il était devenu le directeur général chargé de la musique à l'UNESCO, il a fait le saut audacieux et a démissionné de cette prestigieuse institution pour se consacrer aux trois activités qui l'intéressaient : la musique, la littérature et le journalisme.Il a exploré le patrimoine musical traditionnel du continent africain, notamment à travers le piano à pouce sanza et la musique polyphonique des pygmées d'Afrique centrale, ou en chantant dans sa langue maternelle et en composant des chansons humoristiques en français !Le succès a suivi. Francis Bebey a parcouru le monde : de la France au Brésil, du Cameroun à la Suède, de l'Allemagne aux Caraïbes, ou du Maroc au Japon... la liste des pays où il a été invité à se produire, à donner des conférences ou à rencontrer des lecteurs est très longue. En plus de la reconnaissance publique, il bénéficiait de la reconnaissance de ses collègues musiciens, tels que le guitariste John Williams ou le Vénézuélien Antonio Lauro, qui l'ont invité à faire partie du jury d'un concours de guitare classique à Caracas.Sa vie était le voyage d'un pionnier africain, un homme enraciné dans son patrimoine culturel et portant un message de partage et d'espoir pour le monde. Son originalité continue de résonner dans le monde entier depuis son décès à la fin du mois de mai 2001.Francis Bebey was born in Douala in July 1929, into a large family where his father, a pastor, struggled to feed his children. But Francis had the opportunity to go to school. Admiring his elder brother, Marcel Eyidi Bebey, he educated himself, distinguished himself, and eventually received a scholarship to go and take his baccalaureate in France.We approached the end of the 1950s when he arrived in La Rochelle. More than ever, in this France where Africans were looked at with curiosity, condescension, or disdain, Francis relied on his intellectual resources. A diligent worker, he obtained his Baccalaureate, then moved to Paris where he started English studies at the Sorbonne. One day, he knew what truly attracted him: he wanted to do radio. Francis learned his craft in France and in the USA.After working for a few years as a reporter, he was hired in 1961 as an international civil servant in the UNESCO Information Department.In parallel, Francis had always been drawn to musical creation. His very serious daytime activity didnâ??t prevent him from frequenting jazz clubs in the evenings. In Paris, the Jazz, the trendy music of that time, but also rumba and salsa attracted him. He collected records and attended numerous concerts. With his accomplice Manu Dibango, Francis took the stage and played music.Francis liked classical music since his childhood. He grew up listening to the cantatas and oratorios of Bach or Handel that his father had sung in the temple. He became passionate about the guitar, impressed by the Spanish and South American masters, and decided to learn to strum the instrument himself.He started composing guitar pieces, blending the various influences that flow through him with the traditional African music he had carried within since childhood. His approach captivated the director of the American Cultural Center (then located in the Saint-Germain neighborhood of Paris), who offered him the opportunity to perform in front of an audience. Francis gave his first guitar recital there (1963) in front of a mesmerized audience. His first solo album was released shortly thereafter.Gradually, Francis became recognized as a musician and composer. Several albums of the African guitar ambassador, as described by the press, were released. He also wrote books, to the point that his artistic career became challenging to reconcile with his career as a civil servant. In 1974, even though he had become the General Manager in charge of music at UNESCO, he took the bold leap and resigned from this prestigious institution to dedicated himself to the three activities that interested him: music, literature, and journalism. He explored the traditional musical heritage of the African continent, notably through the thumb piano sanza, and the polyphonic music of the Central African pygmies, or singing in his native language and composing humoristic songs in French!Success followed. Francis Bebey traveled the world: from France to Brazil, Cameroon to Sweden, Germany to the Carribean, or Morocco to Japan... the list of countries where he was invited to perform, gives lectures, or meets readers is very long. In addition to public recognition, he enjoyed the recognition of his fellow musicians, such as guitarist John Williams or Venezuelan Antonio Lauro, who invited him to be a part of the jury for a classical guitar competition in Caracas.His life was the journey of an African pioneer, a man rooted in his cultural heritage and carrying a message of sharing and hope for the world. His originality continues to vibrate around the world since his passing at the end of May 2001.

Piano Solo - Early Intermediate - Digital Download Composed by Louis Landon. New Age. Sheet Music Single. 4 pages. Published by Landon Creative, Inc.

Piano Solo - Early Intermediate - Digital Download Composed by Louis Landon. Spiritual, New Age. Sheet Music Single. 7 pages. Published by Landon Creative, Inc.

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.

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

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.

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!