Trumpet Solo - Level 5 - Digital Download SKU: A0.809112 Composed by Tony Benade. Instructional,Jazz,Latin. Individual part. 96 pages. Tony Benade #3573827. Published by Tony Benade (A0.809112). More… Jazz Licks at Your Fingertips is a sequel to Jazz Licks at your Fingertips This study contains over 80 jazz licks/phrases in several different keys. There are progressions on the ii7 - V7 in both major and minor keys. There are also major, minor 6th and 7ths as well as dominant, diminished and augmented chords. As you go on you will find licks on flatted and raised ninths, augmented 11ths and 13th chords. Most important however, are the Application Exercises. There are six jazz etudes which contain chord progressions found in many of the jazz standards. You will have the opportunity to use the licks in measures that deal with the chords that you have dealt with in the previous section. There are parts where you are asked to fill in your own licks in between the written melody. All the material that you have just worked on in the the last section can be used in each etude. By the end of the study, you can improve on the enitre song.  It is a unique method that I have developed over the past 50 years. If you follow the method and work on all the exercises as directed, you will take your first steps in the Real way pros play jazz. There is even accompaniment provided for each etude. There are mp4s that are available at no extra cost if you have a device that will play them. There is also accompaniment provided at the end of the book if  have musician friends play along with you.  The process for obtaining the mp4s is explained at the beginning of the book under Application Exercises.

Baritone Saxophone,Piano - Level 3 - Digital Download SKU: A0.549336 By Barry Manilow. By Bruce Johnston. Arranged by James M. Guthrie, ASCAP. Contemporary,Rock. Score and part. 8 pages. Jmsgu3 #3486311. Published by jmsgu3 (A0.549336). Duration: ca. 3:00, score: 5 pages, solo part: 1 page, piano part: 2 pages.Very famous song suitable for church, recital or nightclub. I Write the Songs is a popular song written by Bruce Johnston in 1975 and made famous by Barry Manilow. Manilow's version reached number one on the Billboard Hot 100 chart in January 1976[2] after spending two weeks atop the Billboard adult contemporary chart in December 1975.[3] It won a Grammy Award for Song of the Year and was nominated for Record of the Year in 1977.[3] Billboard ranked it as the No. 13 song of 1976.[4]The original version was recorded by The Captain & Tennille, who worked with Johnston in the early 1970s with The Beach Boys. It appears on their 1975 album, Love Will Keep Us Together. The first release of I Write the Songs as a single was by then teen-idol David Cassidy from his 1975 solo album The Higher They Climb, which was also produced by Bruce Johnston. Cassidy's version reached #11 on the UK Singles Chart in August of that year.[5]Johnston has stated that, for him, the I in the song is God,[2] and that songs come from the spirit of creativity in all of us. He has said that the song is not about his Beach Boys bandmate Brian Wilson.[6]Manilow was initially reluctant to record the song, stating in his autobiography Sweet Life: The problem with the song was that if you didn't listen carefully to the lyric, you would think that the singer was singing about himself. It could be misinterpreted as a monumental ego trip.[3] After persuasion by Clive Davis, then president of Arista Records, Manilow recorded the song, and his version of I Write the Songs was the first single taken from the album Tryin' to Get the Feeling. It first charted on the Billboard Hot 100 on November 15, 1975, reaching the top of the chart nine weeks later, on January 17, 1976. Wikipedia

String Quartet String Quartet - Level 3 - Digital Download SKU: A0.559962 Composed by Alan Silvestri and Glen Ballard. Arranged by Lisa Ochoco. Broadway,Christmas,Contemporary,Film/TV,Musical/Show. 13 pages. Lisa L Ochoco #5984545. Published by Lisa L Ochoco (A0.559962). This song comes from the movie, The Polar Express. In the film, Billy starts singing that all of the joys that he's heard that happens at Christmas time, he's never experienced. Nevertheless, he's still hoping that Santa's on his way on Christmas Eve, and that Once lost will all be found; that's all I want when Christmas comes to town.

Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1251231 Composed by Gus Kahn, Ernie Erdman and Dan Russo. Arranged by F. Leslie Smith. 20th Century,Comedy,Pop,Standards,Traditional. 37 pages. Sweetwater Brass Press #845507. Published by Sweetwater Brass Press (A0.1251231). This song starts with the narrator/lyricist saying that he overheard a guy at the train station trying to say farewell to his girl.  The guy would kiss her, bid her adieu, get on the train, then get off and do the whole thing over again.  And, he did this seven times!  What would he say to her each time?  He’d tell her that he’s leaving, that she shouldn’t cry, that he’ll write and that if she does not hear from him she should assume he’s been arrested.  What a romantic line!     Anyway, that’s the gist of the “Toot, Toot, Tootsie!� lyrics.  Credited to Gus Kahn, Ernie Erdman and Dan Russo, New York City’s Leo Feist, Inc. first published this upbeat, leave-taking song in 1922.  It had been one of 29 numbers featured in the 1921 Broadway production Bombo, a vehicle designed to showcase the talent of Al Jolson.  Six years later Jolson sang it in The Jazz Singer, generally recognized as the first sound feature film.  Additionally, all three composers, plus Ted Fio Rito and Eddie Cantor, also made early and very popular recordings.    This bubbly, cheerful arrangement opens in the key of F major with a suggested tempo of 120 BPM.  After an 8-measure introduction, the piece goes right to the familiar chorus with Trumpet 1 and Trombone switching leads and ending with a wonderful Fillmore-style smear.  The tempo then slows dramatically for a somewhat pensive interpretation of the verse, the narrator’s observations, Horn and Trumpet 1 alternating the lead.  At measure 67 the chorus repeats faster than ever, a recommended 132 BPM, as Trombone and the two Trumpets take turns with the melody.  This leads right into a repeat of the verse—this time played at full speed—and a change of key to D-flat major.  Trombone and Tuba play in unison, exchanging the melody with Trumpets, right on into the third go-round of the chorus.  The piece wraps up with a vaudeville-style conclusion and eventually fades away.  (But don’t miss Trombone's four-measure reference to “Charlottetown Is Burning Down/Goodbye, Liza Jane� at measure 141.)Lots of fun!    Completed in 2023, performance time at the suggested tempo runs about 2 minutes, 47 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge.  He would like to receive your suggestions, comments, corrections and criticisms.  For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box.

Woodwind Ensemble,Woodwind Quartet Flute - Level 3 - Digital Download SKU: A0.1509402 By Francesco Leone. By Isaac Albeniz. Arranged by Francesco Leone. Romantic Period. 24 pages. Glissato Edizioni Musicali #1084641. Published by Glissato Edizioni Musicali (A0.1509402). Discover the vibrant rhythms and passionate melodies of Isaac Albéniz's Sevilla in a fresh and compelling arrangement for flute quartet by Francesco Leone. This piece, part of the celebrated Suite Española No. 1, Op. 47, has been skillfully adapted to capture the essence of Spanish music and culture, offering an advanced-level challenge for flute ensembles. Leone's arrangement brings out the color and dynamics of Albéniz's composition, making it a perfect addition to the repertoire of ambitious flute quartets seeking to explore the richness of Spanish classical music.Arrangement Highlights:Instrumentation: This exquisite arrangement is scored for 3 C Soprano Flutes and 1 Bass Flute, creating a balanced blend of bright and deep tones that echo the lively streets and serene landscapes of Spain. The thoughtful distribution of parts ensures that each musician can contribute to the full expression of the piece, from the intricate melodies to the robust, rhythmic undercurrents.Level: Advanced. Designed for flute quartets ready to take on a more challenging repertoire, this arrangement demands precision, control, and a deep understanding of musical expression. It's an opportunity to showcase technical skill and interpretive depth, all while navigating the intricate harmonies and rhythms that define Spanish music.Score and Parts: The e-book includes a full score and individual parts, all clearly notated and meticulously prepared to facilitate a smooth rehearsal process. The arrangement is crafted to ensure that performers can fully engage with the music, allowing for a performance that is both technically sound and emotionally compelling.Exclusive Online Resources:An audio demo of this stunning arrangement is available at www.glissato.it, product code: EG1117. This demo serves as an essential reference for tempo, articulation, and ensemble balance, helping musicians to align their interpretation with the spirited essence of Sevilla. It's a valuable tool for both individual practice and group rehearsals, ensuring that the quartet can achieve a cohesive and dynamic performance.Embrace the Spirit of Sevilla:Francesco Leone's arrangement for flute quartet invites musicians to immerse themselves in the heart of Spanish culture through the lens of Isaac Albéniz's masterful composition. Whether preparing for a performance, competition, or simply exploring the depth of classical repertoire, this piece offers a rich, rewarding experience. Dive into the spirited world of Sevilla and let your flutes sing with the passion and elegance of Spanish tradition.

Flute,Piano - Level 3 - Digital Download SKU: A0.549330 By Barry Manilow. By Bruce Johnston. Arranged by James M. Guthrie, ASCAP. Contemporary,Rock. Score and part. 8 pages. Jmsgu3 #3486233. Published by jmsgu3 (A0.549330). Duration: ca. 3:00, score: 5 pages, solo part: 1 page, piano part: 2 pages.Very famous song suitable for church, recital or nightclub. I Write the Songs is a popular song written by Bruce Johnston in 1975 and made famous by Barry Manilow. Manilow's version reached number one on the Billboard Hot 100 chart in January 1976[2] after spending two weeks atop the Billboard adult contemporary chart in December 1975.[3] It won a Grammy Award for Song of the Year and was nominated for Record of the Year in 1977.[3] Billboard ranked it as the No. 13 song of 1976.[4]The original version was recorded by The Captain & Tennille, who worked with Johnston in the early 1970s with The Beach Boys. It appears on their 1975 album, Love Will Keep Us Together. The first release of I Write the Songs as a single was by then teen-idol David Cassidy from his 1975 solo album The Higher They Climb, which was also produced by Bruce Johnston. Cassidy's version reached #11 on the UK Singles Chart in August of that year.[5]Johnston has stated that, for him, the I in the song is God,[2] and that songs come from the spirit of creativity in all of us. He has said that the song is not about his Beach Boys bandmate Brian Wilson.[6]Manilow was initially reluctant to record the song, stating in his autobiography Sweet Life: The problem with the song was that if you didn't listen carefully to the lyric, you would think that the singer was singing about himself. It could be misinterpreted as a monumental ego trip.[3] After persuasion by Clive Davis, then president of Arista Records, Manilow recorded the song, and his version of I Write the Songs was the first single taken from the album Tryin' to Get the Feeling. It first charted on the Billboard Hot 100 on November 15, 1975, reaching the top of the chart nine weeks later, on January 17, 1976. Wikipedia

Piano Solo - Level 3 - Digital Download SKU: A0.998549 Composed by Julie Mandel. Contemporary. Score. 5 pages. Joopie Music #3533885. Published by Joopie Music (A0.998549). INTERVALS : 24 Works for Piano by Julie MandelA musician friend of mine once told me that her favorite songs were those that began with the jump of an octave. Like Somewhere Over The Rainbow. It got me to thinking about how the first two notes of any piece of music really set up what will follow. That octave jump, that interval, is only one of twenty-four possible intervals in a one-octave scale. That is to say, there are twenty-four different intervals with which to begin a piece of music. I have written these twenty-four pieces with the idea of having the first two notes of each of them start with a different interval.I’m delighted that pianists are starting to perform them in concert, and all 24 have been recorded by Hadassah Guttmann. The recording is widely available for purchase and download.Writing them has been like a series of adventures, each of which begins by taking the first two steps - and then discovering where they will lead. I hope you enjoy playing them as much as I enjoyed writing them.Julie Mandel, composerwww.juliemandel.com

Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.1516446 By Michael Drake. By Michael Drake. Arranged by Kevin Carberry. Broadway,Film/TV,Musical/Show,Reggae,Singer/Songwriter,Wedding. 139 pages. Michael Gene Drake #1090612. Published by Michael Gene Drake (A0.1516446). You Make A Difference In My Life Is a song from my CD “No Tan Lines” 1997 and is a big Band version which features a Vocal.michaeldrakemusic@outlook.com  https://drakemusic.com/https://www.youtube.com/watch?v=nA1K4NkfqlsYou Make A Difference In My Life Wo Wo WoYou Make A Difference to me, don’t you know, don’t you know    You Make A Difference In My Life Wo Wo WoYou Make A Difference to me. You Make A Difference to me.  You Make A Difference to me. You Make A Difference to me.  As life takes it’s turns we might wish for another, or a different road we could take.It’s the road that we travel and the bumps that we take,and the swerves that we need to handle.Writing songs and playing music is what I got to do.Gets me through the day, what I want is quite different I beg of you,I need to find the way.I have browsed these rooms many times before,And never found the key.It’s the hardest of hards and that emp-ty fee-lin’,that you get when you lost your love.Your fears are revealed and your tears seem to tumbleas I search through the ruins in my heart, my heart!Just to find in the corner of that lone-ly room,a teacup filled with you.

Alto Saxophone,Piano - Level 1 - Digital Download SKU: A0.548709 Composed by Martin Luther. Arranged by James M. Guthrie. Easter,Instructional,Standards. Score and part. 4 pages. Jmsgu3 #3411721. Published by jmsgu3 (A0.548709). Out of the Depths I Cry to You by Martin Luther arranged for alto sax & piano. The first verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Features the entire range of the instrument. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms. Score: 3 pg. Solo part: 1 pg. The piano reads from the score. Out of the Depths Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics, essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to the contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed pieces, such as Felix Mendelssohn and Max Reger. Luther Background Martin Luther, (1483 –1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music. Influence It is important to realize that other musicians, and their descendants, were encouraged by Luther’s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works. Legacy The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich Schütz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in Lübeck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.

Piano Solo - Level 3 - Digital Download SKU: A0.1368424 By Jose Valladares. By Jose Valladares. Arranged by Jose Valladares. Classical. Score. 5 pages. Circlesquare Music #952769. Published by Circlesquare Music (A0.1368424). Introducing Let Us Celebrate Love, a heartwarming and tender piano composition that gracefully encapsulates the essence of romance and the joyous celebration of love in its purest form. This enchanting piece, from the beloved album A Celebration of Love, and Life by the talented artist and composer Jose Valladares, is an ode to the timeless beauty and profound depth of love that connects souls.With a gentle tempo of 60, Let Us Celebrate Love unfolds like a poetic verse, each note a delicate brushstroke painting the infinite hues and textures of love's canvas. The composition is a harmonious blend of passion and serenity, a musical journey through the whispers of affection, the quiet moments of togetherness, and the unspoken promises that bind hearts forever.Let Us Celebrate Love is not just a piece of music; it's an invitation to delve into the depths of your heart, to reminisce on cherished memories, and to revel in the warmth and comfort of love's embrace. This composition is perfect for those who wish to honor the love in their lives, for pianists desiring to convey profound emotions through their fingertips, and for anyone seeking a melody that resonates with the tender rhythm of the heart.Embrace the soothing melodies of Let Us Celebrate Love and allow it to transport you to a place where love reigns supreme, where every note echoes the depth of your affection, and where every chord is a testament to the enduring bond of love. This piece is a celebration, a serenade to the love that uplifts, inspires, and fills our lives with meaning and joy.Welcome the romantic embrace of Let Us Celebrate Love. Let this piece be a tribute to the love that graces your journey, a musical ode to the most cherished of human connections. Acquire your copy today, and let Let Us Celebrate Love be the soundtrack to your most treasured moments, resonating with the warmth and beauty of love in every tender note.

Guitar,Piano,Vocal,Voice - Digital Download SKU: A0.893851 Composed by David Kai. Children,Christian,Sacred. Score. 3 pages. David Kai #5322227. Published by David Kai (A0.893851). This song teaches the stories from the first chapters of the book of Genesis.With the purchase of this music, you may make copies of the lead sheet or lyrics for your church school or choir. Please report any congregational use to One License or CCLI.Stories of the Early Days   by David Kai ©2000  (with thanks and apologies to W.A. Mozart)1. Creating, creating, a thing that God does well, God planted a garden, and everything was swellStories of the early days, people learning of God’s ways, Creating, creating, a thing that God does well.2. A garden and creatures, just when the world began, The first of the humans, according to God’s plan,Stories of the early days, people learning of God’s ways, A garden and creatures, just when the world began.3. With Noah, and fam’ly, a covenant was made, They built a great ark and his family was saved, Stories of the early days, people learning of God’s ways, With Noah, and fam’ly, a covenant was made.4. A rainbow, a rainbow, the sign God sent to show, That there was a cov’nant, there’d be a flood no more,Stories of the early days, people learning of God’s ways, A rainbow, a rainbow, the sign God sent to show.5. Oh Abram and Sarai, went to the Promised Land, God changed both their names and God changed all of their plans.Stories of the early days, people learning of God’s ways, Oh Abram and Sarai, went to the Promised Land.6. Oh Sarah, oh Sarah, though she was very old, Gave birth to her Isaac, just as she had been told,Stories of the early days, people learning of God’s ways, Oh Sarah, oh Sarah, though she was very old.7. Rebecca, Rebecca, her well of kindness showed that she was the right one, and so she chose to go,Stories of the early days, people learning of God’s ways, Rebecca, Rebecca, her well of kindness showed.8. Old Isaac, gave Jacob, the blessing that was saved for Esau, his brother, who then began to rage,Stories of the early days, people learning of God’s ways, Old Isaac, gave Jacob, the blessing that was saved.9. Oh Jacob, and Esau, they met again at last, And all was forgiven, the feud was in the past,Stories of the early days, people learning of God’s ways, Oh Jacob, and Esau, they met again at last.

Choral Choir,Choral (SATB divisi) - Level 3 - Digital Download SKU: A0.1109087 By Kevin Longley. By Kevin Longley. Arranged by Kevin Longley. A Cappella,Christian,Praise & Worship,Religious,Sacred. 10 pages. Kevin Longley #711630. Published by Kevin Longley (A0.1109087). Inspiration While I have recited the Nicene Creed countless times, in July 2021 something changed. The church had cleared the return of the choir, post pandemic, and it was my first Sunday of singing in well over a year. That Sunday as I recited the creed something happened when I reached the line “And His Kingdom Will Have No End�. Was it louder? Was it spoken with greater conviction? Something was different! Maybe it was just me. I'm not sure but all I know is that every Sunday thereafter it had the same impact on me. Within a few weeks I decided to compose a choral piece about that very line. I had to! The Music For the most part the harmony and structure are traditional but do contain harmonic structures with a contemporary flair. The arrangement is refrain, verse, refrain, verse, bridge and then refrain. The first and 3rd refrains are highly similar while the second refrain contains a soprano section descant while featuring the bass's carrying the main melody. The overall intent of the music is that on every return to the refrain, it is louder than the previous refrain. This signifies the singers confidence growing, in the existence of God's Kingdom, after each verse. With that said the piece starts quietly, almost being heard from a distance. The refrain lyrics speak to the hope that we carry for God's kingdom while the verses speak to God and Jesus in a more intimate way. The bridge speaks to the strength of the Kingdom and then leads back to the opening refrain, now in double forte. The high point in the piece is reached where volume, emotion and a significant ritard occur at the phrase “we'll be together�. From there the piece decreases in volume ending in a quiet confidence repeating “No end, no end, no end�.

Piano Solo - Level 2 - Digital Download SKU: A0.1460309 Composed by Darío Estrella. 21st Century,Chamber,Classical,Jazz,Multicultural,World. Score. 108 pages. Editorial Copistas Acuario #1039240. Published by Editorial Copistas Acuario (A0.1460309). En 2012 se hablo? bastante del calendario maya y de una interpretacio?n que causo? un gran impacto a nivel mundial por sus presagios fatalistas. Sin embargo, entendi? que estas Profeci?as Mayas, ma?s alla? de predicar destruccio?n, enunciaban el inicio de un mundo nuevo, uno que todos nosotros debemos construir. Me inspire? en el tema y decidi? escribir 31 composiciones, una por cada di?a del mes de diciembre —pra?ctica que desde entonces mantengo, siendo el pasado diciembre mi 11o an?o consecutivo. Ahora, en 2024, el equipo de la Fundacio?n Copistas Acuario —presidida por mi amigo y disci?pulo Samuel Beethoven—, me honra con la siguiente edicio?n de composiciones para piano, luego de haber tambie?n publicado mi libro «A ti Estudiante» en 2019. En cada una de las piezas se presenta una propuesta distinta y diferenciada. Cada ti?tulo es alusivo al di?a correspondiente segu?n los almanaques y muchas veces en conexio?n con la numerologi?a. Es un libro interesante para estudiarlo y ampliar el repertorio, pero que sobre todo busca elevar la capacidad interpretativa. Siempre he tratado de enviar un mensaje de vida a trave?s de mi mu?sica y en esta obra, adema?s, quise expresar la fascinacio?n y el asombro que este pueblo antiguo y misterioso me causa. Se dice que este pueblo desaparecio?, pues deci?an venir de las estrellas, especi?ficamente de las Ple?yades; tal vez regresaron a su origen co?smico de la misma manera en que vinieron. ¡Emba?rquemonos, pues, nosotros tambie?n en este fascinante viaje musical que hoy presentamos ante ustedes! --------------------------------------------------------------------------------------------------In 2012, there was a lot of talk about the Mayan calendar and an interpretation that caused a great impact worldwide for its fatalistic omens. However, I understood that these Mayan Prophecies, beyond preaching destruction, enunciated the beginning of a new world, one that all of us must build. I was inspired by the theme and decided to write 31 compositions, one for each day of the month of December —a practice I have maintained ever since, this past December being my 11th consecutive year. Now, in 2024, the team of the Fundacio?n Copistas Acuario —chaired by my friend and disciple Samuel Beethoven,— honors me with the next edition of piano compositions, after having also published my book “A ti Estudiante” in 2019. Each of the pieces presents a distinct and different proposal. Each title is allusive to the corresponding day according to the almanacs and often in connection with numerology. It is an interesting book to study and expand the repertoire, but above all it seeks to raise the interpretative capacity. I have always tried to send a message of life through my music, and in this work I also wanted to express the fascination and amazement that this ancient and mysterious people cause me. It is said that this people disappeared, given they claimed to come from the stars, specifically from the Pleiades; perhaps they returned to their cosmic origin in the same way they came. Let us, then, also be embarked in this fascinating musical journey that we present to you today!

Piano Solo - Level 5 - Digital Download SKU: A0.912497 Composed by Thomas R. Schadl. Concert,Contemporary,Instructional,Standards. Score. 9 pages. Thomas R. Schadl #3916053. Published by Thomas R. Schadl (A0.912497). Toccata In B Flat Minor, by Thomas R. Schadl, explores rhythmic energy and lyricism. The exposition (bars 1-18) consists of the static rhythm, where the the first beat is accented. The melodic part of the exposition is lyrical and has syncopation that provide contrast to the driving rhythm. The transition exists from bar 19 to 56, but unlike the traditional sonata form where the transition moves on to the second theme in the exposition, the main theme re-appears briefly from bar 57 to 64 and then it moves on to the second theme (bars 65-100). Sonata form includes the development section that involves the  working of a theme or themes that were stated in the exposition, but this work does not have a development part; so in its place is the transition that spans from bar 101 to 114, leading to the recapitulation (restatement of the first theme in the exposition). Following the restatement, the second theme comes in at bars 133 to 140 and is restated at bars 157 to 176; transition is inserted at bars 141 to 156. As the piece progresses toward the end, the fragmented portion of the second theme repeats with diminishing sound intensity, followed by a brief transition stated in the first few bars after measure 19. The piece ends with a loud B Flat, after a one bar rest. Anyone planning to analyse this composition will come to realize that since the development section does not exist, one may conclude that the work is composed in a modified sonata form. Toccata In B Flat Minor requires steady rhythmic sense, quick left-hand jump between bass notes to eighth-note passages in the second theme, and a good sense of rhythm when executing four eighth notes against triplets. Slow practice speed is advised in order to master the technical challenges. The piece is suitable for education and concert purposes, and may be performed in silent movies or stage shows.