Full Orchestra - Level 5 - Digital Download SKU: A0.534554 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 136 pages. Musik Fabrik Music Publishing #4283537. Published by Musik Fabrik Music Publishing (A0.534554). In 2004, the Orchestre Philharmonique de l’Oise commissioned its musical director, t Thierry Pélicant, this concerto for the late Claude Caens, the principal contrabass of this orchestra. This great artist, who was friends with everyone in this ensemble, wanted everyone to have a part in the festivities, not only the strings, but also the winds, the horns, the trumpets and the percussion, and also that they all should be heard ! Thierry Pélicant wrote therefore a concerto which is at once very symphonic – and for this reason, it is strongly advised that the contrabass be amplified – but also a piece which would express the friendship between the orchestra and the soloist. This concerto strives to be both warm and lyrical : it is not a virtuoso showpiece, inspite of the real technical that it offers to the soloist and which he would do well to try to hid them from the audience. It is also not a battle between the orchestra and this gentle giant : they stroll together, sometimes joyously, sometimes with nostalgia and go through the strong storms which do not fail to present themselves, smiling together and finding them to be envigorating.The work is scored for (2(Pic)2(EH)22/2200/Timp/2perc/strings) and lasts aproximately 23 minutes. The orchestral parts are on rental from the pubilsher.  The piano reduction with the solo part is available for sale on this site.Thierry Pélicant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the Opéra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate ssupporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, written for his friend Dominique Preschez, Operas (Histoires comme ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gàlvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée (quintet for oboe and strings), Sextuor d’été, and Milonga (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ...

Full Orchestra - Level 5 - Digital Download SKU: A0.534555 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 46 pages. Musik Fabrik Music Publishing #4283543. Published by Musik Fabrik Music Publishing (A0.534555). In 2004, the Orchestre Philharmonique de l’Oise commissioned its musical director, t Thierry Pélicant, this concerto for the late Claude Caens, the principal contrabass of this orchestra. This great artist, who was friends with everyone in this ensemble, wanted everyone to have a part in the festivities, not only the strings, but also the winds, the horns, the trumpets and the percussion, and also that they all should be heard ! Thierry Pélicant wrote therefore a concerto which is at once very symphonic – and for this reason, it is strongly advised that the contrabass be amplified – but also a piece which would express the friendship between the orchestra and the soloist. This concerto strives to be both warm and lyrical : it is not a virtuoso showpiece, inspite of the real technical that it offers to the soloist and which he would do well to try to hid them from the audience. It is also not a battle between the orchestra and this gentle giant : they stroll together, sometimes joyously, sometimes with nostalgia and go through the strong storms which do not fail to present themselves, smiling together and finding them to be envigorating.The work is scored for (2(Pic)2(EH)22/2200/Timp/2perc/strings) and lasts aproximately 23 minutes. The orchestral parts are on rental from the pubilsher.  The full score is available for sale on this site.Thierry Pélicant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the Opéra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate ssupporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, written for his friend Dominique Preschez, Operas (Histoires comme ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gàlvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée (quintet for oboe and strings), Sextuor d’été, and Milonga (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ...

By Leonard E. Lopatin. By Leonard E. Lopatin. Classical, Instructional. Individual part. 185 pages. Leonard E. Lopatin #743125. Published by Leonard E. Lopatin

Piano Solo - Level 4 - Digital Download SKU: A0.987080 Composed by Eric Paul Nolte. Contemporary. Score. 12 pages. Eric Paul Nolte #566749. Published by Eric Paul Nolte (A0.987080). This piece is one of an album of my contemporary classical compositions. Yes, I too wince at offering you something saddled with this oxymoron--contemporary classical--but this phrase is now an irresistible, commercially recognized category defying any principled protest from the ranks of wounded musicological curmudgeons like me.  The style here employs a tonal palette that celebrates the more or less common practice of composers from J. S. Bach to Ravel, Prokofiev, and the 20th century American songbook.  You will see that I reject Arnold Schoenberg's assertion that by 1910 tonality had exhausted itself, and needed to be reinvented according to an aesthetics that dismiss our scales and harmonies as purely arbitrary human conventions with no basis in nature. On the contrary, I believe that we are endowed by our nature to respond emotionally to our traditional materials of music in the same way as nature equips us to respond to the taste of food and drink. We differ in our taste for savory, sweet, and sour, but it is wrong to say that our very capacity to taste is a merely cultural convention. There is biology, and then physics too! By the same standard, it can't be true that one person's taste for arsenic is as valid as another's taste for beer or kumquats. The major triad is a force of nature, like the sun, wind, and rain! I also like big fat juicy 13 chords, and contrapuntal weaving of melody! I believe the purpose of music is to sway us emotionally, and if it can uplift us too, so much the better! While I am not ashamed to write a bare triad, unadorned by chromatic alterations (much less by clusters of chord collisions) I have nevertheless employed much complicated harmony. Moreover, some passages are written in a spiky harmony that might be analyzed as bitonal, as at the meno mosso section, beginning at measure 112, where the mood I wanted to set inspired me to write the theme in C minor while the left hand climbs up from the bottom of the keyboard in a widely spaced, D-flat 13 arpeggio.  I have composed these pieces with the skills of intermediate to early-advanced pianists in mind. This piece demands the ability to play some counterpoint between two voices in one hand. There is a section that requires one to play moderately fast octaves, but nothing as difficult as the G minor Prelude of Chopin (to say nothing of his harrowing octave Etude from Opus 25!) While there are many polyrhythmic passages, none is more complicated than two-against-three notes. All said, there is nothing here to make your hands (or, I dare say, your ears) bleed. The performing time is around nine minutes and a breath or three. I have a number of videos posted on YouTube.com, I have a website under construction, ericpaulnolte.com, and, since 2011, an occasional blog of my ravings on life, love, and the cosmos, at ericpaulnolte.blogspot.com. You may write me at nolte0125@gmail.com.

Large Ensemble Cello,Double Bass,Harp,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.889419 Composed by Luis Anjos Teixeira. Concert,Contemporary. Score and parts. 36 pages. Luis Anjos Teixeira #3492515. Published by Luis Anjos Teixeira (A0.889419). For the 2018 Chamber Music Contest Entry Eternal Bridge was made to be performed by a group of six soloists playing the following instruments: Oboe, Harp, Violin, Viola, Cello, Double Bass. It is not a difficult piece once learned. It is really a great fun for the players and very easy listening too, It covers a very wide range of audience demands. There is a groove feeling on it that makes it very pleasant to most all people. Because of its plasticity the piece allows many interpretations, therefore I did not made much use of interpretation symbols in order to leave to the performers the freedom of doing their own. Bowing and fingering are left totally virgin at the hands of the schools or the creativity of the performing Artists. P.S. - The score was written on Finale. The sound file For the 2018 Chamber Music Contest Entry, was performed with samplers from Garritan and conceived as an audio support for the presentation of the score. This is the first time that this version is published in Sheet Music Plus. Thank you very much for taking your time to read this text and to listen to the file. I hope you have a lot of fun and enjoy the music. Sheers! Thanks to Claudia Eppelt for the cover design, all the Love and inspiration. Special Thanks to Nina and Stray Queen Mimi for my Family, all their Love Patience and Compassion. Love Forever.„The litle story of the - „Eternal BridgeEternal Bridge came out of a dream. Imagine a little railway station, a train that comes and stops, and your friends go inside. As you step on the little stairs to go inside, the doors close letting you out, and the train starts rolling. It speeds up very fast and enough so you can`t jump out of the little stairs back to the ground, you are holding now to the iron bars around the doors of the train, you see your friends and the people inside but they can`t see you, they can`t hear you, and you notice that the train is now on a bridge so high, that you can`t see the earth any more. Wind is blowing around me and I feel this cosmic cold and everything starts to twist around in a gigantic spiral. I still feel the Gravity but it goes in all directions at the same time pushing me violently and I feared to fail the grip on the iron bars and fall down, in an imaginary endless abyss. Little by little the speed of the events slows down progressively until everything freezes. Now, The other side of the bridge does not exist at all, neither the beginning or up or down. The train disappeared in a glimpse and I noticed that I was not falling down, just hanging there out in hyperspace, Free from Gravity. I lost the fear of falling in the abyss, it felt kind a good, because the only thing that I could see was light, pure beautiful bright white light, I was floating in light, I realised I could stay there forever, but then I felt lonely and wanted to come back home. When I finally woke up, I wrote this words in Portuguese and made a song out of it. the words go like:Ponte eterna abismo sem fundo - Vento ciclónico medo profundo - Comboio gelado lentidão d`aço - Espiral eterna suspensa no espaço - Maos agarram a vida duas barras d` aço - Corpo sacudido em espasmos de medo - Alucinação divina acordar de um sonho Eternal Bridge endless Abyss - Cyclonic wind deep Fear - Frozen Train slowness of steel - Eternal spiral suspended in space - Hands cling to life on two bars of steel - Body shaken into spasms of fear - Divine hallucination waking up from a dream

Flute, Woodwind Quintet, Woodwind Choir or Ensemble, Choir, Orff instruments, c flute 1, c flute 2, c flute 3, c flute 4, and alto flute in G - Intermediate - Digital Download By Billie Eilish. Arranged by a " do Ray me " flute studio production, Ray-Michael Kauffman. Individual Part, Lead Sheet, Octavo, Score, Set of Parts, Sheet Music Single, Solo Part. 29 pages. Published by a " do Ray me " flute studio production

Piano Solo - Intermediate - Digital Download Composed by Frederic Chopin (1810-1849). Arranged by Sylvina Tilbury. Romantic Period, Repertoire. Individual Part, Score, Sheet Music Single, Solo Part. 5 pages. Published by Sylvina Tilbury

Choral Choir (2-Part) - Level 2 - Digital Download SKU: A0.1099392 Composed by Sally Whitwell. Children,Classical,Instructional. Octavo. 9 pages. Sally Whitwell #703279. Published by Sally Whitwell (A0.1099392). Do you want to build a rocket? was originally composed for a wonderful group of children I worked with at the Young Music Society Winter School in Canberra. The first day that I went in to meet them, I sat down with them on the floor and asked them what kind of performance they wanted to build. It was around the time that the Disney animated feature Frozen was very popular with kids. Or not, as it turns out, because one little boy’s hand shot up straight away and he said: “Tell you what I don’t wanna build: a stupid snowman!� He suggested we build a rocket instead. So that’s what we did. It’s a song about the wonder and curiosity we feel about the universe, of our desire to explore it, and of the determination and grit required to achieve that dream. It’s some very hard yards to build a rocket and to learn to fly it, but our dreams are always worth the work! I hope you have fun with this song. Teachers, I invite you to get as theatrical as you dare with it. In our original performance we had all these toy instruments, toy toolkits, and painted cardboard boxes. (So many boxes!). Let’s just say, if you think it’s gonna be ‘too much’, it’s probably exactly the right amount. Sally Whitwell August 2022.

Bass Guitar,Voice - Digital Download SKU: A0.1069976 Composed by Steven H. Boothe. Pop,Rock. Full Performance. Duration 187. Boothe Publishing #4633723. Published by Boothe Publishing (A0.1069976). Most of the mistakes I made in life were between the ages of 12-16 years. Somehow I felt that I was smarter than I was. I thought that my friends were smarter than they were. I felt invincible. I made many foolish mistakes during those years. About that time, my family was preparing to move from Oregon to Utah. I remember my mother talking with me and saying that I could start over again. We would be in a new place with new people. No one would know me. I could be the person I truly wanted to be. I thought about this a lot, and when we finally made the move I had decided what kind of person I really wanted to be. In fact, I felt bad for being the wrong kind of person and hurting other people physically and spiritually. I eventually felt so bad about my mistakes that I decided that I would write or call the people I had hurt and apologize to them. Over the period of a year I was able to find, call and apologize to each of them. To my great surprise none of them were still angry with me. I was forgiven. That was a great feeling. This day will be forever what you choose. Once you leave this life you won't be able to return and right any wrongs that you have committed. So when you make a mistake, choose to make it right today so that this day, this day of good choosing will be what will last forever. Never let yourself do something that you know inside is wrong. If your friends are trying to talk you into doing something you know is wrong, don't just sit there and listen to them. Get up and leave the room, or the party, or the situation. Be true. Be the one. Be the son or daughter of God. Do what He would do.

Piano,Voice - Digital Download SKU: A0.1069977 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Pop. Full Performance. Duration 184. Boothe Publishing #4633725. Published by Boothe Publishing (A0.1069977). Most of the mistakes I made in life were between the ages of 12-16 years. Somehow I felt that I was smarter than I was. I thought that my friends were smarter than they were. I felt invincible. I made many foolish mistakes during those years. About that time, my family was preparing to move from Oregon to Utah. I remember my mother talking with me and saying that I could start over again. We would be in a new place with new people. No one would know me. I could be the person I truly wanted to be. I thought about this a lot, and when we finally made the move I had decided what kind of person I really wanted to be. In fact, I felt bad for being the wrong kind of person and hurting other people physically and spiritually. I eventually felt so bad about my mistakes that I decided that I would write or call the people I had hurt and apologize to them. Over the period of a year I was able to find, call and apologize to each of them. To my great surprise none of them were still angry with me. I was forgiven. That was a great feeling. This day will be forever what you choose. Once you leave this life you won't be able to return and right any wrongs that you have committed. So when you make a mistake, choose to make it right today so that this day, this day of good choosing will be what will last forever. Never let yourself do something that you know inside is wrong. If your friends are trying to talk you into doing something you know is wrong, don't just sit there and listen to them. Get up and leave the room, or the party, or the situation. Be true. Be the one. Be the son or daughter of God. Do what He would do.

Piano - Digital Download SKU: A0.1069959 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Pop,Rock. Accompaniment. Duration 184. Boothe Publishing #4633665. Published by Boothe Publishing (A0.1069959). Most of the mistakes I made in life were between the ages of 12-16 years. Somehow I felt that I was smarter than I was. I thought that my friends were smarter than they were. I felt invincible. I made many foolish mistakes during those years. About that time, my family was preparing to move from Oregon to Utah. I remember my mother talking with me and saying that I could start over again. We would be in a new place with new people. No one would know me. I could be the person I truly wanted to be. I thought about this a lot, and when we finally made the move I had decided what kind of person I really wanted to be. In fact, I felt bad for being the wrong kind of person and hurting other people physically and spiritually. I eventually felt so bad about my mistakes that I decided that I would write or call the people I had hurt and apologize to them. Over the period of a year I was able to find, call and apologize to each of them. To my great surprise none of them were still angry with me. I was forgiven. That was a great feeling. This day will be forever what you choose. Once you leave this life you won't be able to return and right any wrongs that you have committed. So when you make a mistake, choose to make it right today so that this day, this day of good choosing will be what will last forever. Never let yourself do something that you know inside is wrong. If your friends are trying to talk you into doing something you know is wrong, don't just sit there and listen to them. Get up and leave the room, or the party, or the situation. Be true. Be the one. Be the son or daughter of God. Do what He would do.

Composed by Various. Arranged by Socrates Arvanitakis. Renaissance. Individual part. 77 pages. Socrates Arvanitakis #889149. Published by Socrates Arvanitakis

Woodwind Ensemble,Woodwind Quartet - Level 3 - Digital Download SKU: A0.581670 Composed by Giuseppe Verdi. Arranged by John Gibson. Opera,Romantic Period. 43 pages. JB Linear #2029123. Published by JB Linear (A0.581670). Pas de Quatre (ballet music for 4 dancers) from the Giuseppi Verdi opera, Jerusalem, set for woodwind quartet (flexible instrumentation) by John Gibson. It is arranged for flute, oboe or flute 2, Bb clarinet, and bass clarinet or bassoon. There are five short ballet pieces that could be performed together or separately. Verdi and other Italian opera composers did not like to include ballet music in their operas, but if they wanted their piece to be performed in Paris, they were required to write ballet pieces. They are mostly left out of opera performances now, but the music is delightful and worth playing!

Guitar,Piano,Violin - Level 5 - Digital Download SKU: A0.1446552 By Diana Mascari. By Diana Mascari. Arranged by Diana Mascari. 20th Century,21st Century,Chamber. 73 pages. Diana Mascari Music #1026353. Published by Diana Mascari Music (A0.1446552). Three for Three Duration: 12 minutesThree for Three was commissioned by the Strung Out Trio in 2003, these three master musicians were living and teaching at the university in Cyprus. Although the violinist and guitarist were husband and wife, often performing as Duo 46, they wanted a piece to include the pianist colleague.The challenge for me as composer was to find a way to negotiate the delicate balance between the guitar and the piano.Both of these instruments are in the same musical range and without a bass, can cancel each other out.Nevertheless, this piece shows a variety of instrumental textures and colors.The movements are:I. Playful DanceII. ElegyIII. Capriccio RomanticoFor questions about this piece, my other works, and/or composition or piano lessons, visit: www.dianamascari.com