SKU: A0.1215499

Gene Autry, the Singing Cowboy, made this song famous in 1949. Based upon a book by Marks’ brother-in-law, Robert L. May, Marks wanted to put the popular 1939 Montgomery Ward story into song. Johnny Marks, a decorated World War II hero, wrote several popular Christmas songs besides Rudolph.
The song’s translation into several languages even had an effect on Finnish Christmas tradition – Rudolph is now head of Joulupukki’s sleigh (the Finnish Santa)!  The only difference is that the Finnish reindeer don’t fly.

This arrangement has a fun swing style to it. Harmonization is slightly more advanced from a Grade I tune, but the rhythms and ranges are very approachable for young musicians. The style lets them experience a standard swing feel.
The percussion is written for a drum set but can be separated as a traditional part for concert band. Sleighbells can have as many players as you want. I often had children come from the audience and give them little toy sleigh bells to play. This was always a big hit.

I hope your students and audiences (and you) have fun with this piece. I appreciate all comments, questions, and critiques. kylemacmusic@gmail.com.

SKU: A0.1372693

In these 112 measures for the twinning of Istanbul-Algeciras I have wanted to incorporate concepts from both parties, with the respect that the composition of Don Joan Manuel Serrat deserves in which in 1970 he sang “Mare Nostrum� (Nostrum mare more correctly in Latin classic, being one of the popular anthems of Spain and therefore a cultural heritage. Therefore it can be used instrumentally or if required, there is a number in the score of which, although the guitar has a melody and one of the choral voices, with two guitars, or make two choral voices or join with your own melody, use both bowed string instruments and plucked strings, etc.
Likewise, there are two voices, of which a single voice can use the phrasings of both one voice and the other, giving it its own personality.
The tempo will be whatever the interpretation itself wants, much slower, without accelerating so much between the beginning and the moment of the song itself. I have incorporated some instruments into the arrangement as examples:
Buzukibouzouki, like the sazturco and the Lebanese Buzuq, which belong to the same family of Buzuki instruments.
And as percussion only percussion The Turkish Darbuka is a percussion musical instrument The Turkish Darbuka is a percussion musical instrument from Turkey. The Turkish Darbuka have a high range of low and high resonant tones that sound between the two registers; serious (Dum) and acute (Tek). The edge or lip allows for finger breaking techniques that are not possible in the Egyptian Darbuka.
And the Tombak, also called Dombak Ozarb, is a chalice-shaped drum, traditionally built with a hollowed-out biker or walnut trunk covered with skin at one end.
With the beginning and among the work itself I wanted to give place to the Bashraf (Turkish Pesrev and Persian Pishraw, which means Overture) and the Sama'i (Turkish Sam Semai) Instrumental genre that is used in the Turkish court and in Sufi music . They were introduced into the Arab world before the 19th century.
And also give place in his forms to the Ottoman composer Ismail Hakkibei (1866-1927). Unite Serrat with Hakkibey with this Istanbul-Algeciras work.
Although the Bashraf is always made up of four points, Khanat (Plural Dekhana) or Hanne in Turkish, which are always followed by a chorus (Taslim / Teslim), its structure being Khana 1+ Taslim, Khana 2, Khana 3+ Taslim, Khana 4 + Taslim.
The fragments must be incorporated since the main base is the Mediterranean pop theme. For this reason, its original rhythm is the Defâhte (In Arabic, Faakhito Fahitah Turki. Being a 20/4 time signature subdivided into 5 sub-groups of 4/4 where the complete cycle coincides with the phrases of the theme. Without forgetting that in music Arabic with the oriental rhythm Lsaada Duyukde 8/8 making a cycle for each measure of 4/4, that is, cycles per phrase, if those written for Western reading in 4/4 with double durations and simplicity. Unit of time: quarter note , coincides in two phrases of 5 measures per staff for a better understanding of the form of the piece, also within a written Arabic version of the theme the unit of time is eighth note 8/8 in G, but it had to be incorporated into Mediterráneo and it is always It is more feasible to think of the human voice as being more limited than instrumentation such as flute, plucked leather instruments, and bowed string instruments.
Instrumentation:
Flute
Guitar 1 (1st voice melody)
Guitar 2 (2nd voice melody)
Bass (accompaniment and chords)
Buzuki
Saz
Darbuka
Tombak
Voice 1st
2nd voice
SMATB Voices
1st violin
2nd violin
Viola
Cellos
Double basses.

SKU: A0.918297

Nearer, My God, to Thee is a 19th century hymn by Sarah Flower Adams which was allegedly the last song played on the RMS Titanic before the ship sank. The bandmaster of the rescue ship, the RMS Carpathia spoke with survivors who reported they had requested the Titanic bandmaster to play hymns. The hymn they most wanted to hear was Nearer, My God, to Thee.

About the composer: Brenda Dillon is best known for her contributions to the Recreational Music Making movement. In addition to her contributions to the RMM Track for MTNA's Pedagogy Saturday, she also presented group piano and RMM sessions throughout the U.S. As well as serving as a teacher trainer, she has written extensive articles on both group piano and RMM teaching. She has publications with Hal Leonard and Alfred Music listed on her website. (www.brendadillon.com).

SKU: A0.1084402

The second movement of Blaze's Piano Sonata in E Major No. 1, following A Look Into The Past, A Moment In The Present was primarily inspired by Beethoven’s Piano Sonata in F Minor No. 1 and Piano Sonata in C Minor No. 8 “Pathetique�. I gave it its name because I find it to be a very relaxing and dawdling piece. It reminds me of someone just lounging around and enjoying nothing but taking in the moment. The syncopated melody gives off the feeling that his thoughts are also jumbled together. He is not actively trying to achieve anything, but instead just letting anything come to him. It is supposed to contrast the first movement by being simpler and more relaxing (where the first is dominating and complex). I especially wanted a much more lyrical and monophonic (single voiced) piece to contrast with the polyphony (many voiced) and layers of the first.

SKU: A0.927988

I'd long wanted to compose an opera based on Arthur Miller's masterpiece based around the Salem witchcraft trials in the American colonies in 1692. Knowing that this was unlikely to come to fruition, nevertheless I sketched out some ideas just in case, which I turned into a 3 movement work for a local orchestra in 1999 for performance at their concert in September 2000. During January - March 2020 I revised the work for a larger orchestra adding 2 more movements (nos 3 & 4) and revising the existing movements. 
The opening movement is intended to be the Prelude to the opera. The 2nd movement the Prelude to the tense 3rd Act. The 3rd movement takes place at the climactic moment of Act 3, when John Proctor's valiant and desperate attempt to expose Abigail Williams' for what she is backfires, leading to his arrest. The 4th movement opens with the Hymn/Psalm associated with the people of Salem and continues with the reconciliation in prison between John Proctor and his wife Elizabeth.The 5th and final movement accompanies John Proctor's march to execution having nobly torn up his confession of witchcraft. The Hymn/Psalm returns before reminiscences of the opening Prelude return ending the work in a sense of uneasy peace. 
Parts can be made available upon request.

SKU: A0.785701

The Nightingale Clarinet duet and Piano is a clarinet duet in Barcarolle tempo and in ternary form. (also flute duet and violin duet are available). Written In Concert E minor, I wanted the gentle tempo in the outer sections to have a medieval minor tone, to work with the contrasting major section in the middle. I very much wanted it to be a clarinet duet rather than clarinet 1 and clarinet 2, so the parts are pretty equally divided.

It is romantic in nature, but uses modes and has a few interesting harmonies. It is placed at early intermediate level, about associated board grade 4/5 - dotted quaver semiquaver is the most complicated rhythm). On the youtube link there is the full score for you to assess suitability. It would be very suitable for concerts, contests, recitals, weddings as well as an incidental piece. There are 2 clarinet pages per part and the piano part has 6 pages- 5 minutes in length.

Price is for the full score and all parts.

SKU: A0.956671

The Maple Leaf Rag is an early work by the African-American ragtime composer, Scott Joplin.  It was first published in 1899, although Joplin had been performing it for some years prior to this.  The composer was confident that the work would be a commercial success and, indeed, in due course, royalties from the piece provided him with a stable income for life.

Joplin wanted The Maple Leaf Rag performed at his funeral.  His widow opted not to honour this request, feeling that the music was stylistically inappropriate for such a sad occasion – a decision she later regretted.

This arrangement for mixed woodwind quartet of 2 flutes, oboe and either clarinet or bassoon is pretty challenging, both in terms of technique and stamina, hence its classification as 'advanced intermediate'.  If desired, players could opt to finish at the change of key at letter F, rather than performing the complete piece.

SKU: A0.1327548

FROM THE PREFACE

The fourth volume of Renaissance music for classical guitar contains twenty mostly well-known and a few more rare intermediate Renaissance pieces taken mainly from lute and vihuela sources.
I have tried to keep the upper level of technical difficulty to the contemporary grade VI level of the A.B.R.S.M. which takes the student to the advanced level (grades VII-VIII).

The pieces are given in two versions, first as decorated pages in ordinary notation, and then the same pieces are again given in undecorated pages of notation and tablature. Therefore each volume contains two books in one and the choice is left to the user whether to keep the volume as presented, or to construct his own book by inclusion or deletion of unwanted pages, blank pages, etc, for use either as a printed or a tablet-screen book version. The addition of tablature of course results in increasing the number of pages needed for the presentation of the pieces, therefore the staff sizes are here reduced to an appropriate degree which can maintain the two-page view principle of any piece without need for automatic or manual page turners, foot pedals etc.

THEMATIC INDEX OF THIS VOLUME  & NAVIGATION BY ACTIVE LINKS

The thematic index following the cover page of this volume contains active links to the decorated pages of the pieces.
The titles of the pieces are also active links interconnecting decorated and tablature pages of the same piece.
The header in pages containing  the title of a piece is an active link bringing back to the thematic index.
The YOUTUBE logo icons in the thematic index are external links to particular performances of these pieces by various artists.

Socrates Arvanitakis
London 2023

CONTENTS

Pavana 1 Luys Milan
Pavana 2 L. Milan
Pavana 3 L. Milan
Pavana 4 L. Milan
Pavana 5 L. Milan
Pavana 6 L. Milan
Gallarda - Alonso de Mudarra
Guardame las Vacas I - Luis de Narvaez
Guárdame las vacas II - Luis de Narvaez
Dance Of The Washerwomen - Hans Neusidler
Tedesca - Anonymous
Almain - Richard Allison
Greensleeves 1-traditional/Anonymous
Greensleeves 2- Francis Cutting
Alman in Am - Robert Johnson
The Round Battle Galliard - John Dowland
The King of Danemark's Galliard - John Dowland
The Night Watch - Anthony Holborne
The Cobbler - Anonymous
Go From My Window - Anonymous.

SKU: S9.Q50078

One Last Bar Then Joe Can Sing (1994) was commissioned by the Arts Council of Great Britain for the percussion quintet Nexus, and is a reflection on aspects of percussion history, both personal and musical. The members of Nexus are my friends (I played in the Steve Reich Ensemble along with Russ Hartenberger in 1972, the year after Nexus was formed). The piece aimed to demonstrate how a fine percussion ensmeble can be as musically expressive and subtle as, say, a string quartet. The piece starts from the last bar at the end of the second act of my opera Medea, a very short coda for a quintet of untuned percussion instruments during which the curtain falls. In this piece, however, this one apparently innocuous measure is progressively fragmented until it is taken over, little by little, by the addition of tuned percussion instruments. Eventually two metallophones (crotales and songbells) play aria-like material with bows, occasionally joined by the xylophone, and accompanied by marimba and xylophone ostinati. The piece ends with a coda in which phrases are passed from bowed vibraphone to bowed crotales, then to bowed songbells, supported by tremolos on the marimbas. The rare 3-octave songbells that Nexus owns is one of the American instrument maker J. C. Deagan's particularly fine instruments. The piece is effectively a kind of homage to Deagan, the Stradivarius of the tuned percussion world, who collaborated closely with Percy Grainger in the development of tuned percussion music between the wars. The allusions in the title are obvious: the one last bar is the last measure of music from my opera; the song is that of Deagan's songbells. In the case of Joe I wanted to link my father, Joe Bryars (who was a good amateur baritone singer) with Joseph Deagan and his songbells. However, some time after I had written the piece, Nexus's Bob Becker took me to one side and told me (gently) that the initial J in Deagan's name, in fact, stood for JohnGavin Bryars

Percussion 1: Crotales (with bow), Chocolo, Mark Tree; Percussion 2I: Song Bells (with bow), Chinese Cymbal, 3 Wood Blocks; Percussion 3: 2 Cymbals, 2 Triangles, Xylophone, Marimba (shared with Marimba II), Vibraphone (with bow); Percussion 4: 2 Cymbals, 2 Gongs, Marimba I (with low F), Maracas; Percussion 5: 2 low Tom-Toms, Marimba II (to low A).

SKU: A0.971794

THE MANSION was composed in 2011. The inspiration for the work came from a reoccurring dream (or nightmare) I would have about being lost in a large, haunted mansion. The mansion would be abandoned, yet would be full of unexpected noises and surprises around every corner. Because of this, the music is intended to sound a little haunting, yet adventurous at the same time, because both of these emotions were strong in the dreams. I no longer have this reoccurring dream, and I have never come to understand why I used to have this dream. I have been a student of the guitar for over 18 years, and I wanted to write a concerto-like work for the nylon string guitar and orchestra. Because an orchestra can be overpowering to the acoustic guitar, I have suggested that the guitarist use an acoustic guitar amplifier. The volume can be adjusted to the performers discretion, but the guitar needs to always be heard. Although the work is also technically challenging, I tried to write something that would still be accessible for the audience. Almost all of the thematic material comes from a simple 5-note motive that can be heard at the beginning of the piece in the piano and guitar. This work does not follow a specific form, although many of the sections do repeat. Originally for guitar and orchestra, this arrangement is for guitar and piano.

Difficulty: grade 5

Duration: 7:45

SKU: A0.1036575

'Joey the Wallabee Kangaroo' is an elementary piano solo with lyrics and is in the Noah's Ark Series of piano solos by Lynne Cox. This series focuses on global music emphasizing different styles in music. As with all solos in the Noah's Ark Series, on the back are listed facts about the animal and locale as well as the theory in the piece. Joey decided he wanted to represent the waltz style since one thinks of the the folk song, Waltzing Matilda associated with Australia. This song is even described as the country's unofficial national anthem. However, as any musicologist will tell you, this song doesn't meet the criteria of a waltz (must be in triple time) because it is written in 4/4. So Joey and I made sure the song I composed in waltz style for his song is in 3/4 time.

SKU: A0.785711

The Nightingale Violin duet and Piano is a violin duet in Barcarolle tempo and in ternary form.
Witten in concert G minor I wanted the lilting tempo in the outer sections to have a medieval minor tone, to work with the contrasting major section in the middle.( flute duet, flute and clarinet duet and clarinet duet also available)

THE PIANO ACCOMPANIMENT TRACK IS AVAILABLE ON MP3.  ITEM NO' S0.858215
I very much wanted it to be a violin duet rather than violin 1 and violin 2, so the parts are pretty equally divided. It is romantic in nature, but uses modes and has a few interesting harmonies.
It is placed at intermediate level, about associated board grade 4/5 - dotted quaver semiquaver is the most complicated rhythm). The whole score is on the youtube link for you to assess suitability- It would be very suitable for concerts, contests, recitals, weddings as well as an incidental piece. There are 2 violin pages per part and the piano part has 6 pages- 5 minutes in length.

Price is for score and parts.