SKU: A0.1455212

This is fun little piece for the macabre-minded pianist:) Historically it resembles an early 20th idiom, similar perhaps to Prokofiev's more sarcastic and parody pieces:).

SKU: A0.1493484

An accessible musical setting of the Anglican words for Holy Communion (from Common Worship).
Designed to be sung together by Congregation and SATB choir, accompanied by Organ (congregation singing the Soprano melody).
The melodic themes are designed to be easy and rewarding for a congregation to learn, while providing some additonal musical interest in the choir parts.
A congregational melody sheet is included in the score, which may be duplicated or projected separately as needed.
For Church of England use, it includes settings of various Common Worship alternative acclamations, sursum corda, doxology, dismissals etc.
Applicable for use by other Christian denominations.

SKU: A0.766310

An accurate note for note transcription of the vocals to be played Instrumental on Alto Sax.

SKU: A0.766311

An accurate note for note transcription of the vocals to be played Instrumental on Violin.

SKU: A0.766312

An accurate note for note transcription of the vocals to be played Instrumental on Tenor Sax.

SKU: A0.1383996

This volume contains five solo piano pieces expertly crafted and meticulously edited for accuracy. Advanced pianists will welcome the technical challenges and heights of musicality these works require. Music terminology for â??Le Cygne noirâ?? and â??L'océanâ?? are in French, with regard to the dedications of these pieces. All other works use conventional music terminology in Italian. 178 pages. ISMN 979-0-800277-00-9.

David Fraser wrote the first 41 measures of â??Rhapsody No. 1â?? in 1997 and subsequently completed this piece and all other works in this volume over the course of six months in 2019. When playing the original 41 measures of â??Rhapsody No. 1â?? in 2019, Fraser noted that the music had some resemblance to works by Sergei Rachmaninoff. This encouraged Fraser to compose the remainder of this piece in a manner reminiscent of Rachmaninoff and, consequently, author a suite of solo piano pieces as homages to some of his favorite composers. In Rachmaninoffâ??s famous â??Rhapsody on a Theme of Paganini, Op. 43â??, variation 18, the composer uses an upside-down inversion of a small melody by Paganini. Similarly, Fraser uses a backwards inversion of a small melody from Rachmaninoffâ??s variation for the Rhapsodyâ??s â??Adagioâ?� section, which starts on Page 3.

Le Cynge noir {The Black Swan} is the second piece Fraser authored, dedicated to his beloved piano composer, Maurice Ravel. In this piece, Fraser wrote in his own style while evoking images such as a swan gliding on a lake, peering at its reflection in the water, and taking flight into the clouds with its wings rustling in the wind. Fraser gleaned inspiration for this piece from Ravelâ??s song for voice and piano â??Histoires naturelles - Le cygneâ??, set to a poem by Jules Renard. In addition, Fraser alternates between the keys of C-sharp major and A major as a depiction of the magical swanâ??s internal conflict in choosing to exist as a black or white swan.

Fraserâ??s third composition is â??Sonata No.1 Gothicâ??, dedicated to Sergei Prokofiev, not as a representation of this genre of music, but in form. Specifically, Fraser uses a similar structure in Movement 1, starting at Measure 72 marked â??più mosso e con abbandonoâ?�, to the notoriously difficult â??colossaleâ?� section of Prokofievâ??s â??Piano Concerto No. 2, Op. 16â??, Movement 1. The sonataâ??s Movement 3 also follows a structure parallel to Movement 4 of Prokofievâ??s aforementioned piano concerto, employing fiendishly challenging syncopated jumps in both hands. Written in ternary form, Movements 1 and 3 of Fraserâ??s sonata are in C minor; Movement 2 is in E-flat minor, instead of the expected relative or dominant key. This work has explosive sentiments of rage that elicit a sense of immensity and darkness, touching on the macabre yet maintaining an alluring nature. 

The fourth piece of this suite, â??L'océan {The Ocean}â?? dedicated to Claude Debussy, uses whole-tone scales throughout as lyrical motifs. The composition unfolds with the allusion of the sun glimmering on ocean waves, followed by the playfulness of eddies and gusts of wind. These themes merge into one another as the wind increases in ferocity, culminating in the start of a storm with sudden strikes of lightning preceded by the reverberation of thunder. The pitter-patter of rain on the water steadily evolves into a full tempest that engulfs the middle section of the piece. As the storm subsides and the ocean calms, night has fallen and the twinkling of stars in the firmament are reflecting upon the water. The piece ends with the return of the opening theme as the sun swiftly rises above the ocean on the horizon.

Prelude No. 1 L'adieu {The Farewell} offers rich and lush harmonies with an enticing melody. This piece was written in memoriam to Fraser's mother.

SKU: A0.805597

This effective transcription for solo piano contains all the music from the 1963 film sequence. Lasting 4 minutes it is suitable for popular or classical programmes including use for cabaret and weddings.

SKU: A0.1029559

I have written a programmatic, neo-romantic/post-romantic prose and musical fragment/miniature based on Schlegel's writings about a Hedgehog. Fragment in the sense that it is not fully developed, yet, in another sense, it is overdeveloped for its length. There are several modern elements in that it is bitonal at one point. At another point, I pit Scriabin's mystic chord, which is his synthetic mode, against what I feel is its nearest aeolian mode, c-minor, which is modernistically dissonant.  

It is written in 'classicized' AABA popular song form, which is perfect for a miniature. It revolves around the programmatic, free verse' Prayer,' a plea to God for sleep, elusive due to the mourning of lost love and the associated emptiness and grief felt deep in the night.

It is motivic in that there is a repeated augmented 6 to a half-diminished cadence that introduces the theme and then serves to transition each small section, in a secondary dominant style repetition until reaching tonic.  

-A1 is a simple statement of the linear theme and harmony in 6ths, and 9ths, almost in keeping with the introductory and transitionary cadence, at least intervallically.  

-A2 is a restatement of that theme with an added countermelody (which becomes the subject of section B) woven between the upper linear melody and the altered bass accompaniment.  

-B begins with a short statement of the countermelody bi-tonally, the left hand in c minor, the right in g minor. There is a brief transposition between several keys, bitonally, while the sostenuto pedal holds a pedal tone until it attenuates completely.  The two measures build from repressed despondency to rage, as strong emotions often do, quickly turning to dissonant chaos. The dynamics and intensity build to a diminished chord whose top note moves up half a step to a Scriabin mystic chord arpeggio.  The held sustain pedal melds the dissonance together with emotional tumult, which fades as quickly as it came, as outbursts often do.  

-A3 starts with the motivic cadence and a deep bass pedal tone. This section is the crowning moment in the piece. In sixths, the macabre accompaniment moves to the right-hand upper tessitura as the more developed 'A' melody moans below in the bass and baritone as the music ebbs away.

A simple c-minor arpeggio strains against a very similar Scriabin mystic chord arpeggio, an octave or a minor seventh apart, ending on an A major and A flat in sweet, gentle, unresolved dissonance against a dying root pedal tone, the final teardrop.

SKU: A0.881669

The full title is CABBAGE and BEEF or Composing on St. Patrick's Day in the Time of the Coronavirus.  This was a fun exercise in writing a melody made up entirely of letters from the musical alphabet starting, of course, with CABBAGE and BEEF.  It was a fun thing to do as I was sheltering in place during the pandemic.  The challenge was composing a melody that made sense and harmonizing it nicely.  The time signature is 5/4 because these are uncommon times.  There are 13 words that make up the melody.  Can you find all of them?