Instrumental Duet,Piano Cello,Instrumental Duet,Piano,Violin - Level 2 - Digital Download SKU: A0.1050441 By Adelaide A. Pollard, George C. Stebbins, and Sharon Wilson. By Adelaide A. Pollard and George C. Stebbins. Arranged by Sharon Wilson. Easter,Praise & Worship,Romantic Period,Sacred,Traditional. Score and parts. 21 pages. Sharon Wilson #654796. Published by Sharon Wilson (A0.1050441). Here is an instrumental trio (for VIOLIN and CELLO duet with PIANO accompaniment) of the beloved hymn Have Thine Own Way, Lord by George C. Stebbins. This gently flowing arrangement will encourage reflection as the listeners are reminded of the lyrics penned by Adelaide A. Pollard: Have thine own way, Lord! Have thine own way! Thou art the potter, I am the clay. Mold me and make me after thy will, while I am waiting, yielded and still. Both the VIOLIN and CELLO get to lead with the melody at times making this a fun and equally challenging piece for both instruments while adding variety for the listeners. The VIOLIN plays the melody for the first verse and then the CELLO leads with the melody for the second verse. This flowing instrumental arrangement is an ideal selection for a worship setting and a valuable addition to your sacred string repertoire. Duration 2:15. The range for each part is as follows: VIOLIN – F4 to B5; CELLO – B2 to C4 (middle C). This is an excellent selection for early-intermediate string players since all notes for the VIOLIN and CELLO are playable in the first position with one exception for the CELLO (the C#3 requires an extension/stretch of the 4th finger on the G string or shift to 2nd position). The PIANO accompaniment is written for an intermediate player. The purchase price includes these printing options: 1. a grand staff (8 pages) with all parts on each page2. separate scores for the VIOLIN and CELLO (2 pages each) and PIANO (4 pages)3. a combined VIOLIN and CELLO score (3 pages) This hymn represents GENTLENESS and is one of the 10 songs in the collection inspired by Galatians 5:22-23: The Fruit of the Spirit (10 Hymns for Violin and Cello Duet with Piano Accompaniment) Visit Sharon Wilson's website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic

Small Ensemble Piano Accompaniment,Violin - Level 2 - Digital Download SKU: A0.1046280 By Sharon Wilson. By Adelaide A. Pollard and George C. Stebbins. Arranged by Sharon Wilson. Praise & Worship,Sacred,Traditional. Score and parts. 21 pages. Sharon Wilson #650786. Published by Sharon Wilson (A0.1046280). Here is an instrumental trio (for two VIOLINS with PIANO accompaniment) of the beloved hymn Have Thine Own Way, Lord by George C. Stebbins. This gently flowing arrangement will encourage reflection as the listeners are reminded of the lyrics penned by Adelaide A. Pollard: Have thine own way, Lord! Have thine own way! Thou art the potter, I am the clay. Mold me and make me after thy will, while I am waiting, yielded and still. Both VIOLIN parts get to lead with the melody at times making this a fun and equally challenging piece for both instruments while adding variety for the listeners. VIOLIN 1 plays the melody for the first verse and then VIOLIN 2 leads with the melody for the second verse. This flowing instrumental arrangement is an ideal selection for a worship setting and a valuable addition to your sacred string repertoire. Duration 2:15. The range for each part is as follows: VIOLIN 1 – F4 to B5; VIOLIN 2 – B3 to G5. All notes for both VIOLINS are playable in the first position making this arrangement an excellent choice for early-intermediate string players. The PIANO accompaniment is written for an intermediate player. The purchase price includes these printing options: 1. a grand staff (8 pages) with all parts on each page2. separate scores for each VIOLIN part (2 pages each) and PIANO (4 pages)3. a combined VIOLIN 1 and VIOLIN 2 score (3 pages) This hymn represents GENTLENESS and is one of the 10 songs in the collection inspired by Galatians 5:22-23: The Fruit of the Spirit (10 Hymns for Violin Duet with Piano Accompaniment) Visit Sharon Wilson's website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic

Solo Guitar - Level 3 - Digital Download SKU: A0.1304657 By Audioslave. By Audioslave and Chris Cornell. Arranged by Cleber Correia. Rock. Individual part. 6 pages. Cleber Domingues #894097. Published by Cleber Domingues (A0.1304657). I Am The Highway features a combination of acoustic guitar, bass and drums; In particular, it is a type of practice that I like, as I play acoustic guitar.Although the base of the band was formed by instrumentalists from ''Rage Against the Machine'', in the proposal of ''Audioslave'', they reinvented themselves and presented a very peculiar repertoire.This is another of the band's successful songs.

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 4 - Digital Download SKU: A0.869295 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 149 pages. Thomas Oboe Lee #431379. Published by Thomas Oboe Lee (A0.869295). Instrumentation: 3222-4231-timp-2perc-hp-chorus-strings Program note:It has been a wonderful two years of thinking, learning and working on my Continental Harmony Project with the Bangor Symphony Orchestra. It is a rare occasion that a composer in the 21st century would receive a commission to write a musical work of such scale: a 40-minute piece for symphony orchestra, 200-plus chorus and a ballet company.   At the Bangor Public Library I found some wonderful evocative 19th century texts for the chorus about the city of Bangor and its environs: the Penobscot River, Mt. Ktaadn, the logging industry, the native American culture, etc.   At times I felt overwhelmed, but most of the times I was exuberant and quite inspired by the music that came forth in the process.   The premiere is less than a month away, and I am looking forward to it. Susan Jonason, Executive Director of the Bangor Symphony, has made the occasion a very public one: a free concert on a Saturday evening! I hope the audience will go home humming the tunes from the work as they walk into the crisp, cool Bangor night.Formally the work is in five movements. The first, third and fifth movements are choral, and the two in between are orchestral.   In the premiere, the Robinson Ballet will dance in the orchestral movements.  The first movement is about the Penobscot River from winter to spring. The melting of the ice is a harbinger of things to come: warmer weather, for instance; but it has also contributed to a lot of flooding in the city of Bangor and its surroundings.The second movement is a waltz, a grand 19th century ballroom waltz for the ladies of the rich lumber barons. They come to the ball showing off their latest hats and gowns from London, Paris and Milan.The third movement is about the woods and the people who work in them. Thoreau’s text about Mt. Ktaadn is full of awesome thoughts about how nature is beautiful, yet unkind to man.   It is followed by a J.G. Whittier lyric entitled The Logger’s Boast. The original song had twenty stanzas to it. I whittled it down to five. I don’t know what the original song sounded like, so I made up my own version of a lumberjack’s drinking song.The fourth movement is a wild, drunken polka. After a long week of working in the woods the lumbermen come back to the city and spend all their earnings on booze, women and gambling. And they dance the night away …The last movement begins with a funeral march for Joe Attien, a native American who was Thoreau’s guide when he came up here in the 1900’s. The work ends with a rousing march, a centennial hymn to the city of Bangor.   God bless our city Bangor, now! On this its birthday morn …NB: The two ballet movements, II. La Valse and IV. Drunken Polka, are optional.

Small Ensemble Bass Guitar,Violin - Level 4 - Digital Download SKU: A0.1013048 Composed by Christine Southworth. Contemporary,World. Score and parts. 76 pages. Airplane Ears Music #5802059. Published by Airplane Ears Music (A0.1013048). HEAVY METAL (2006, 18') for Balinese Gamelan Gong Kebyar, guitar, violin, bass, lyricon, and robotic instruments. Commissioned by the Boston Museum of Science with the support of NEFA and Meet the Composer. Premiered on Wednesday, January 25, 2006 at Cahner's Theater in the Boston Museum of Science as part of Music & The Invasion of Technology, performed by Gamelan Galak Tika, Blake Newman, Erik Nugent, Todd Reynolds, and Eddie Whalen. Heavy Metal represents a new kind of fusion, multi-dimensional, making connections across cultures acoustic and electronic, western and eastern, high and low, human and machine. The piece was written for Gamelan Galak Tika, a Balinese gamelan in residence at MIT that has worked with electric instruments many times in the past, but this is certainly the first time a traditional Balinese gamelan has shared the stage with robotic instruments. In other ways, though, there is something very natural about these combinations: they reflect the way we all experience music in the 21st century. It could also be argued that this is simply an extension of the way music has always progressed and changed, as Chinese shawms morphed into oboes, and exotic middle eastern percussion instruments, like the cymbal and triangle, worked their way into the symphony orchestra. Heavy Metal engages the full force of two ensembles, Galak Tika and Ensemble Robot, as well as a living history of electroacoustic instruments, from the vintage lyricon to the Whirlybot. The sounds implicit in both senses of the title find their way into new combinations of struck bronze and excitable circuitry. Heavy Metal is based on American hard rock music from the late 1970’s through the early 1990s. The idea started as a pun, because the keys of many Balinese gamelan instruments are made of metal, but when I began studying the melodic ideas and rhythms in heavy metal music, I found that they leant themselves very well to gamelan. The problem was that a gamelan has a very specific sound and limited timbral variation, the sounds of hit metal and skin. I feel that the sounds of the gamelan become much more interesting when combined with string sounds. Also, the gamelan uses a pentatonic scale so I am using western instruments and robots to expand the sound universe to a full spectrum. In this piece, the gamelan and the western/robotic instruments play separately – rhythmically they are together, and they are working through the same material at the same time, but the western instruments and robots do not play the 5 notes that the gamelan plays, and more often than not they stay out of that key (a variation of E Major, the gamelan tuning being C#, D#, E, G, and A) altogether. This creates a sense of two harmonic worlds co-existing and cooperating, the West and our technology with Bali and their technology, much more primitive but very powerful nonetheless.About the ComposerChristine Southworth (b. 1978) is a composer and video artist based in Lexington, Massachusetts, dedicated to creating music born from a cross-pollination of sonic ideas. Inspired by intersections of technology and art, nature and machines, and musics from cultures around the world, her music employs sounds from man and nature, from Van de Graaff Generators to honeybees, Balinese gamelan to seismic data from volcanoes.  Website: www.kotekan.com

String Orchestra - Level 3 - Digital Download SKU: A0.521446 By The La S. Arranged by Sherry Lewis. Contemporary. Score and parts. 26 pages. Sherry Lewis Publishing #6077651. Published by Sherry Lewis Publishing (A0.521446). THERE SHE GOES - The La's String Orchestra of 2 violins, viola, cello and string bass chords (such as Am, G, etc) score: 10 pages  parts: 10 page time: 2'50 MY QUARTET VERSIONS, in short notice work fine for solo, two parts and three parts  however I also offer individual versions for one, two and three parts that are more detailed for these ensembles. Please visit  https://www.sheetmusicplus.com/search?Ntt=sherry+lewis+publishing for all of the titles I offer. If you can’t find a title then contact me through stringquartet@hotmail.com and I’ll give you the link back to Sheet Music Plus’s listing. VERSATILE Titles that include four parts are written with the idea that they can be performed with 1, 2, 3 or 4 musicians. Most of the contemporary/popular titles include a chord chart for a bass instrument. PRACTICE needs would vary according to the level of the performers but my goal is to be sight-readable for most performers and groups.  AUDIO SAMPLE The 30 second mp3 is frequently shortened and may not start at the introduction to get to the reprise. The actual introduction will be in the sheet music. LISTENABILITY I have performed thousands of weddings and special events. I make it a goal for the music to carry as well as possible through loud and large space situations.  ARRANGEMENTS usually follow the original version. There is an mp3 where you can hear 30 seconds and get a feeling of the originality of the work. EXCELLENT for corporate events, weddings, social gatherings and recitals. APPROPRIATE for students and schools. CHURCH REPERTOIRE I’m always adding more titles. Thank you for your purchase

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. 

Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital

Piano and voice - Digital Download SKU: LV.2240 Composed by G.A. Hodson. Portraits, Mothers & children, Couples, Knights, Daggers & swords, Death, Grief. Lester S. Levy Collection. 6 pages. Published by Johns Hopkins University Sheridan Libraries (LV.2240). The Motherless. Composed by G.A. Hodson. Published [n.d.] by James L. Hewitt & Co., 137 Broadway in New York. Composition of strophic with piano and voice instrumentation. Subject headings for this piece include Portraits, Mothers & children, Couples, Knights, Daggers & swords, Death, Grief. First line reads Ah! say not thou art lonely now, while I am by thy side!.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.

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.

Violin Solo - Level 3 - Digital Download SKU: A0.799131 By Emilio. By Van Morrison. Arranged by Dan Sanchez. Contemporary,Rock. 5 pages. Dan Sanchez #5020105. Published by Dan Sanchez (A0.799131). Thank you for checking out my Solo Violin arrangement of Have I Told You Lately That I Love You by Van Morrison. Rod Stewart also had a popular rendition of this tune in the 90’s.  This arrangement includes the melody, along with fills to link each phrase.  This creates a very full sound, providing a cohesive interpretation of a larger-ensemble orchestration. This is just one of my many special arrangements. Check out my full listing on Sheet Music Plus! I am always adding new items for String Duo, Trio, and Quartet. One thing that sets my arrangements apart from others is that I fit all of my parts on 2 sheets of music. This makes it so the songs can fit into a binder, without the need for flipping pages! Another great thing (for multi-instrumental arrangements) is that I include cue lines on each part, so that every player in the ensemble can see one other person’s music at the same time. This is so amazingly useful and has saved countless performances in the past. If someone skips a beat or misses a measure, you can now see where they are and reconnect! This also helps with sight-reading and keeping the group together in general.

Voice Duet Voice - Level 3 - Digital Download SKU: A0.576909 Composed by David Warin Solomons. 20th Century,Blues,Pop. 14 pages. David Warin Solomons #516085. Published by David Warin Solomons (A0.576909). I am so happy that smoking in enclosed public places is now illegal in the UK and in many other countries, but this song was written in the 1980s when people had to breath the pollution created by inconsiderate smokers, and, of course, there are still countries where this is the case. So I decided to publish the song even though the battle is thankfully won here. The sound sample is my own performance with some additional (un-notated) improvisations on cello and vibraphone. The pdf file contains the score and parts.  The music has also been arranged as an instrumental duo called Laid back bounce, also available on this site.  I went out this morning along the way to work  when without warning I was faced with clouds of murk  refrain: Sing Down with the smokers who infect the air with clouds hate their unthinking uncaring unblinking hate the stinking coughing crowds!  I went down to the station and was waiting for my train  but to my irritation the stinkers were there again.  [refrain]  Wouldn't it be pleasant to enjoy a drink in a theatre bar discussing the play  or wouldn't it be jolly just to sing along with pals in a cozy pub along the way  or wouldn't it be nice to go any where and not have to share with every breath some secondhand smoke and firsthand death.  [refrain]  I was eating my fav'rite curry but the air was getting thick and I felt I had to hurry because the smokers made me feel sick  [refrain]  It's fine bright hot and sunny and I'd love to have a drink  but why spend time and money where the smokers sit and stink?  [refrain]  Wouldn't it be pleasant just to pass the time at a social do or a meeting hall  or wouldn't it be jolly to dance the night away with the one you love at a disco or ball  wouldn't it be nice to go any where and not have to share with every breath some secondhand smoke and firsthand death  [refrain].

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1303802 Composed by F. Leslie Smith. 21st Century,Chamber,Children,Historic,Multicultural,World. 77 pages. Sweetwater Brass Press #893335. Published by Sweetwater Brass Press (A0.1303802).      A song learned in primary school years and years ago had words something along the lines of the following:          Oh!  I’m a young musician,          From distant lands I come.          Singing and playing,          Ever I’m straying.     Also known as “I Am a Fine Musician,� “I Am a Gay Musician� and perhaps other titles, that song is still around and has evolved into many different versions.  The original was probably a German folk song from the early 1800s.  As published in an 1889 collection of children’s songs, it bears the title, “Ich bin ein Musikant.�  That translates as “I am a musician.�  In the lyrics the musician claims to be “from Schwabenland� (Swabia) and to play geige (violin: “Dide schum schum schum�), flöte (flute: “Päde wäpp päpp päpp�) and basse (bass: “Dide schum schum schump, päde wäpp päpp päpp).  Later versions list the instruments played by the musician as bassoon, bells, clarinet, drum, guitar, piano, piccolo, triangle, trombone, trumpet, tuba, tympani, viola and just about every instrument and noisemaker you can think of.      Anyway, that’s the tune on which “The Brass Player� was built.  But here, the musician is concerned only with brass.  Which brass?  Well, possibly trumpet.  Or maybe horn in F.  Or trombone.  Or tuba.  Or perhaps all four; certainly, all are featured in this piece.     “The Brass Player� comprises four sections.  The first is in the key of C major and is played at a moderate 2/4 tempo.  After a brief Trumpet/Tuba ostinato, Trombone introduces the main theme.  Other instruments join in and play around with a variation or two.      The second section is a sweet, nostalgic rendition in 4/4 carried mainly by Horn in F, with help from Trumpets and Trombone.      In section three, the mood changes radically.  Time signature goes to 3/4; tempo speeds up to vivace and the key changes to B Minor.  All five instruments participate, and some odd things take place rhythmically at I through K (measures 200 through 262), but Tuba seems to carry the melody most of the time.     Section four, in G Major, clips along at a fast 4/4 time.  It returns to the main theme and (as in “Ich bin ein Musikant� and its multitudinous derivations) presents in call-and-response form.  The first few measures are straight, but discord quickly creeps in.  The melody begins to include smears, flutter tonguing and off-beat rhythmic figures.  There is even a brief section in G Minor.  Gradually, order and theme are restored and the piece ends in a glorious, upbeat statement.     This piece, completed in 2023, consists of 398 measures, a little over nine minutes in length.  There are four changes of key and four changes of time signature.  Trumpet 1’s highest note is A above its staff; Trombone’s is F above the staff.  Trumpet 2 has a few G-below-its-staff notes.     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.  Contact him at lessmith61@bellsouth.net.  For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box.