Large Ensemble - Level 5 - Digital Download SKU: A0.1044258 Composed by An-lun Huang. 20th Century,Folk,Multicultural,Traditional,World. Score and parts. 145 pages. DoReMi Edition #648168. Published by DoReMi Edition (A0.1044258). To the New Century Rhapsody to the Rising sun 中國暢想曲第四號《布農之歌》 An Ensemble for Flute, Clarinet, Strings, Piano,Erhu, Yangqin, Ruan and Zheng in Bunungese Style by An-lun Huang, Op.59[April, 2000] Commissioned by the MusicCanadaMusique2000 Dedicated to James Campbell, “Rhapsody to the Rising Sun� is a commission of the MusicCanadaMusique 2000. The five Chinese traditional instruments being used for this ensemble, are: Erhu 二胡 - “Chinese Violin� Yangqin �� - “Chinese Ducimer� Ruan 中阮 - “Chinese Lute� 2 Zhengs �� - “Chinese Zither� The composition of this piece is based on the original musical materials of Bunung布農. The Bunungese is a minority group of natives who live on the island of Formosa��. Ethnically speaking, they originated from the Micronesian race rather than from the “Han�, the Chinese majority who accounts for ninety-seven percent of the population. The pentatonic mode is often found in Chinese folk tunes, in which a triad chord is seldom found. However, the Bunungese actually “enjoy� the sonority (the pitch and the tone) of the major triad. The modern civilization has yet to adapt to their wild and natural style. Usually, their folk song would be a chorale led by a leading singer, followed by the crowd. In the morning, facing the rising sun, the people with their colourful clothes, gather in a circle and dance to the rhythmic music. Located in far east Asia, the Bunungese may well be the first people to praise the rising sun to celebrate the new century with songs and dances. This is the reason why the composer chose to complete the commission in the Bunugese style. 此录音为2000年黄安伦指挥加拿大室内�团在帕里桑音�节首演的实况.钢�是欧阳瑞丽,民�部份由多伦多的敦煌室�团担任.

Large Ensemble - Level 5 - Digital Download SKU: A0.1044257 Composed by An-lun Huang. 20th Century,Folk,Multicultural,Traditional,World. Score and parts. 64 pages. DoReMi Edition #648167. Published by DoReMi Edition (A0.1044257). To the New Century Rhapsody to the Rising sun 中國暢想曲第四號《布農之歌》 An Ensemble for Flute, Clarinet, Strings, Piano,Erhu, Yangqin, Ruan and Zheng in Bunungese Style by An-lun Huang, Op.59[April, 2000] Commissioned by the MusicCanadaMusique2000 Dedicated to James Campbell, “Rhapsody to the Rising Sun� is a commission of the MusicCanadaMusique 2000. The five Chinese traditional instruments being used for this ensemble, are: Erhu 二胡 - “Chinese Violin� Yangqin �� - “Chinese Ducimer� Ruan 中阮 - “Chinese Lute� 2 Zhengs �� - “Chinese Zither� The composition of this piece is based on the original musical materials of Bunung布農. The Bunungese is a minority group of natives who live on the island of Formosa��. Ethnically speaking, they originated from the Micronesian race rather than from the “Han�, the Chinese majority who accounts for ninety-seven percent of the population. The pentatonic mode is often found in Chinese folk tunes, in which a triad chord is seldom found. However, the Bunungese actually “enjoy� the sonority (the pitch and the tone) of the major triad. The modern civilization has yet to adapt to their wild and natural style. Usually, their folk song would be a chorale led by a leading singer, followed by the crowd. In the morning, facing the rising sun, the people with their colourful clothes, gather in a circle and dance to the rhythmic music. Located in far east Asia, the Bunungese may well be the first people to praise the rising sun to celebrate the new century with songs and dances. This is the reason why the composer chose to complete the commission in the Bunugese style. 此录音为2000年黄安伦指挥加拿大室内�团在帕里桑音�节首演的实况.钢�是欧阳瑞丽,民�部份由多伦多的敦煌室�团担任.

Level 1 - Digital Download SKU: A0.1369230 By Jose Valladares. By Jose Valladares. Arranged by Jose Valladares. 19th Century. Educational Method. 25 pages. Circlesquare Music #953582. Published by Circlesquare Music (A0.1369230). The Fundamentals of Music Theory: Booklet 1 by Jose Valladares serves as an introductory guide into the captivating realm of music theory. Targeted at both novices and enthusiastic learners, this booklet is designed as the first step in a transformative journey to understand the language of music. Likening music theory to the grammar of music, it aims to provide readers with the foundational tools to create, interpret, and communicate through music.The booklet begins with an exploration of the definition, significance, and historical evolution of music theory. It then delves into the core components that constitute music's framework:The Music Staff and Notes: Readers are introduced to the music staff, the bedrock for note placement, and learn how each line and space corresponds to distinct musical pitches. This section emphasizes the assembly of notes to create soul-stirring melodies.Clefs and Note Names: This part focuses on various clefs including treble, bass, alto, and tenor, which are crucial for reading and interpreting the music staff, and serve as navigational landmarks in the sea of notes.Rhythmic Notation: It addresses the essence of rhythm in music, covering note values, rests, dotted notes, and ties, enabling readers to grasp the rhythmic heartbeat of any composition.Time Signatures: The booklet explores time signatures, detailing how they organize a music piece and define its rhythmic character, from the steady beats of simple time to the flowing grace of compound time.Basic Scales and Key Signatures: It uncovers the foundational elements of melodies and harmonies, discussing major and minor scales, their emotional influences, and the Circle of Fifths, which serves as a guide through the relationships among different keys.By the end of The Fundamentals of Music Theory: Booklet 1, readers are expected to have a comprehensive understanding of music theory's basics. They will be well-equipped to decipher music's language, comprehend its notations, and fully appreciate the intricate craftsmanship involved in every musical composition. The booklet promises a journey of musical discovery, unwinding the intricacies of music theory one note and rhythm at a time.

Instrumental Duet,Keyboard - Digital Download SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074264. Published by Jenni Roditi (A0.1497852). Piano Duo 2 pianos/4 hands. Curve, Between the Octaves points to a fugal past, where lines enter and build in stately flow. It invites lines to intermingle, without assuming they will all arrive somewhere, or at the same time. A certain intensity builds, then scales, both up and down, free themselves from the discussion of the interleaving lines. The chromaticism suggests curving between harmonies, and is nearly always ambivalent. An assertive chordal climax intervenes to shake off the tensions, yet this peels away into further curvatures that twist and twirl, until a final resting point agrees to present itself.  Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians.  The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.

Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Roditi #1074269. Published by Jenni Roditi (A0.1497857). Piano Duo 2 pianos/4 hands. Encircle, Between the Octaves, originally called rotate as its impetus was to generate a steadily rotating music. Encircle was later chosen as a more evocative word. The harmony surprised me as it suggested shifts and colourations that I would not have expected to conjure. Two upper rotating parts with melodic narrative are supported by bass and baritone lower parts. The final section adds a dance-like short form to end what could otherwise have run and run and run.  Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians.  The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano. 

Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497866 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074279. Published by Jenni Roditi (A0.1497866). Piano Duo - 2 pianos/4 hands. Ignite, Between the Octaves began with the impetus of static ‘pulsation’ (its original title) on repeated octaves. The piece is a fizzing dash of nodal vortices, small, then larger, spinning and tumbling and all the way to the finish line. This piece brings the complete suite of 7 pieces to a dynamic close, with a sense of ignition to new beginnings. The music echoes the opening F octaves of Initiate (movement 1). Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians.  The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano. 

Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. Published by Jenni Roditi (A0.1497861). Piano Duo 2 pianos/4 hands. Ritualise, Between the Octaves finally found its identity with the word ritualise. It began as announce, became pronounce, then declare and went as far a pontificate for a title. At that point I realised I was mocking my own music and needed to take it more seriously. Ritualise brought out a meaning to the music that I hadn’t wanted to admit to. It is quite folk-like, in a primal and entrancing kind of way. I can imagine a communal dance for some ceremonial purpose in this music with both public and private elements.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians.  The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.

Instrumental Duet,Keyboard - Digital Download SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published by Jenni Roditi (A0.1497843). Piano Duo - 2 pianos, 4 hands. Surrender, Between the Octaves was the piece that was composed first in the suite. It exposes a simple call to return to the beginning, to return to a pure act of listening. This note..ah, now that note.. oh. This is how the piece was written - one note at a time. Listening from within a space (its original title) of resonance, of edges and meetings, of disappearances and repetitions that reflect on this gentle body of notes. There is a slow hearing that may, or may not create a tone-journey.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians.  The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.

Full Orchestra - Level 5 - Digital Download SKU: A0.1436894 By Elton John. By Elton John and Tim Rice. Arranged by Georg Wiesinger. Film/TV,Multicultural,Pop,World. 62 pages. Georg Wiesinger #1016960. Published by Georg Wiesinger (A0.1436894). Bring the iconic sounds of Disney’s The Lion King to life with this masterful orchestral arrangement of Circle of Life, composed by the legendary Elton John and Tim Rice. This arrangement, commissioned by the esteemed Bruckner Orchestra Linz, is a faithful transcription of the beloved song as heard in the film, meticulously crafted for a full symphony orchestra.This arrangement captures the essence and grandeur of the original, ensuring an authentic and stirring performance that will resonate with audiences. With parts for strings, woodwinds (3/3/3/2), brass (4/3/3/1), percussion (4 players), solo, and more (harp, e-piano, bass-guitar), this arrangement allows each section of the orchestra to shine, delivering the powerful and emotional experience that Circle of Life is known for.Key Features:Authenticity: Faithfully transcribed to match the film’s version, ensuring a familiar and beloved sound.Versatility: Perfect for concert performances, special events, and themed programs.Professional Quality: Commissioned by a world-class orchestra, reflecting high standards of musicality and craftsmanship.Comprehensive Parts: Includes full score and individual parts for each section of the orchestra.Ideal for orchestras looking to add a timeless and emotionally impactful piece to their repertoire, this arrangement of Circle of Life promises to captivate and inspire audiences of all ages. Bring the magic and majesty of the African savanna to your concert hall with this stunning orchestral arrangement.

Instrumental Duet,Keyboard - Digital Download SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074259. Published by Jenni Roditi (A0.1497847). Piano Duo 2 pianos/4 hands. Thread, Between the Octaves grew out of the call the make a single line weave between the octaves. Line was the original title. Thread, as a word, brings more texture to the title and describes what the line is actually doing, threading around the harmony. A secondary thread is heard after a while, echoing and shading the primary line, with its own treble weave. It was like going back to the beginning of making melody again.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians.  The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.    

Instrumental Duet,Keyboard - Level 5 - Digital Download SKU: A0.1497831 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074235. Published by Jenni Roditi (A0.1497831). For Piano Duo - 2 pianos/4hands. Initiate, Between the Octaves, the opening piece in the suite, is a sparky, rhythmic and post-modern hoquet, of some wit and almost perpetual bounciness. A ricocheting of quickly contrasting dynamics with occasional switches to distant moments. Three big plunges into legato emotional flow, release the popping bubbles of the fiery staccato material. A short final chorale settles and grounds the quick cuts, swoops and build ups that have propelled the whole piece. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians.  The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.

Choral Choir (SATB divisi) - Level 4 - Digital Download SKU: A0.876922 Composed by Melinda Moreaux. Instructional. Octavo. 150 pages. Melinda Moreaux #3559173. Published by Melinda Moreaux (A0.876922). Singer's Musical Theory is multi-level series of workbooks designed to help singers learn music reading and theory. The books include over 100 pages of useful information including links to the Singer's Musical Theory website for instructional videos, and some pretty silly stuff. Materials included: Sight singing, both melodic and rhythmic, an explanation the origins of modern notation, worksheets covering clefs, rhythm, triads, key signatures, the circle of 5ths, solfege, musical terms, IPA and composer information. Answer sheets are included. This series is designed to be used as preparation for the Music Teachers' Association of California® Certificate of Merit® testing.

Piano Solo - Level 1 - Digital Download SKU: A0.1097670 Composed by Traditional and Traditional English Carol. Arranged by Amanda Tero. Children,Christian,Christmas,Holiday,Religious. Score. 3 pages. Amanda Tero #701608. Published by Amanda Tero (A0.1097670). This easy sheet music of The First Noel has a basic, repeated left hand pattern, making it perfect for beginner/elementary students. Musical elements in The First Noel beginner/elementary piano sheet music - Key of C - Right hand single-note melody - Left hand has 3 patterns - Finger numbers Teaching tips for The First Noel sheet music If your student struggles to put hands together, then this is a good Christmas arrangement for them. The left hand only has three patterns. Have your student circle the patterns that are the same (in both right hand and left hand) so they realize how little they actually have to learn to be able to play this piece. #thefirstnoel #easypiano #beginnerpiano #sheetmusic #christmaspiano.

Solo Guitar - Level 4 - Digital Download SKU: A0.1322107 Composed by A. R. Habershon, Ch. H. Gabriel. Arranged by Bettina Schipp. Blues,Country,Folk,Traditional. Individual part. 2 pages. Songbooks.info #910464. Published by songbooks.info (A0.1322107). These Folk and Gospel Songs and Traditionals were arranged for Guitar fingerpicking. They were written in the well-known tablature for string instruments as well as in classical musical notation - for slightly intermediate and advanced guitarists. The songs were recorded at a slow tempo and with a metronome in the background. Have fun making music...!Diese Folk und Gospel Songs und Traditionals wurden für das Fingerpicking mit der Gitarre arrangiert. Sie wurden in der bekannten Tabulatur für Saiteninstrumente sowie in der klassischen Notenschrift notiert - für leicht fortgeschrittene und fortgeschrittene GitarristInnen. Die Lieder wurden in einem langsamen Tempo und mit einem Metronom im Hintergrund aufgenommen. Viel Spaß beim Musizieren...!

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1172085 Composed by Charles H. Gabriel. Arranged by Todd Marchand. 19th Century,Christian,Sacred,Traditional. 16 pages. Con Spirito Music #772348. Published by Con Spirito Music (A0.1172085). Higher Ground (I'm pressing on the upward way) is a 19th-century American gospel song with lyrics by Johnson Oatman, Jr. (1856-1922) and music by Charles Hutchinson Gabriel (1856-1932).Both Oatman and Gabriel were prolific writers. Oatman, an ordained Methodist Episcopal minister employed primarily in retail and insurance work, is said to have written over 5,000 hymns and songs in the latter 30-some years of his life.  Although not a talented singer nor recognized as an outstanding preacher, he was acknowledged to have ministered to countless souls through the words of his hymns and songs.Gabriel, a Methodist Episcopal church music director and editor of gospel song books, anthem collections, music instruction manuals, and more, is said to have written between seven and eight thousand texts and/or tunes under his own name and several pseudonyms. In addition to the music for Higher Ground, he composed the music for such well-known gospel songs as His Eye is on the Sparrow and Will the Circle Be Unbroken? The opening line of Oatman’s text (I'm pressing on the upward way) draws especially from Philippians 3:13-14: “Forgetting what lies behind and straining forward to what lies ahead, I press on toward the goal for the prize of the upward call of God in Christ Jesus.� Other sources include passages from the prophets Isaiah and Micah and the Psalms of Ascent (120-134). Gabriel's music cleverly evokes the upward vision of the text with an ascending arpeggio spanning an octave on the first words of the refrain (Lord, lift me up) and the matching of the highest notes of the tune to the words a higher plane.This arrangement for brass quintet expands the meter of the tune from 3/4 to 4/4 to allow for some countermelodic call-and-response by various voices in the ensemble. Every member will enjoy a lyrical part to play in this arrangement, which is fitting as a prelude, offertory, or special musical selection in worship, and ideal as a lyrical selection on recitals. ©Copyright 2023 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. Visit www.conspiritomusic.com