Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1262362 Composed by Sally Whitwell. 21st Century,Contemporary. Octavo. 17 pages. Sally Whitwell #855402. Published by Sally Whitwell (A0.1262362). On the morning of 2 March 2020, I finished writing the first draft of this song. It was the same morning that the New South Wales Rural Fire Service announced that for the first time since July 2019, the state was free of active bush and grass fires.At the time it felt quite euphoric. We’d been through a lot. Little did we know what was coming just a few days from then, when the Covid19 global pandemic reached our shores. It’s a virus that would kill millions across the world, and disable millions more, long term. It forced us, globally, into a kind of reckoning the like of which we had never experienced before. Non pharmaceutical controls like lockdowns, mask mandates, social distancing and ventilation standards were employed to keep us safe from this airborne virus, whilst scientists worked round clock to develop vaccines and treatments.Technically, the declaration of a pandemic is still active, but governments and people have somehow decided for themselves that it is all over. No one takes any precautions any more. Governments have stopped reporting statistics. People who know they are infected are going about their business with no thought for others. Meanwhile, many of the immune-compromised, the disabled, the vulnerable, are unable to safely leave their homes and engage in activities out in the world. I know this, because I am a carer for a vulnerable person.What this whole exercise has taught me is that people in the world are actually much less kind than I thought they were. Humans do not really care for each other. People attack me for wearing a mask, tell me that I’m virtue signalling and that I look ridiculous (as if I care how I look). I’ve asked questions about workplace Covid safety and been informed that it’s “a bit rich� that I’m asking at all, when everything is now safe. A friend’s diagnosed Long Covid symptoms were cruelly minimised or completely dismissed “Oh, it’s not Covid. How old are you? In your forties? It’s your hormones, it’s the menopause.� The fatal combination of sheer selfishness, rampant misinformation and DISinformation continues, whilst people waltz around spreading a deadly virus with no thought for the grief that will undoubtedly ensue.It boils down to this: if we want to continue as a species and to have a planet on which to reside, we have to stop with the Self Care and start with the Community Care. A choir is the perfect instrument for expressing these notions, through the unique power of the massed first person plural. My wish for this piece is that it spurs performer and listener alike into some kind of action. Please consider the effect your actions have on others, and on the planet, and make any changes necessary, however inconvenient or difficult they are. Otherwise, there’s really no point.Sally Whitwell 11 July 2023.

Trumpet Duet Trumpet - Level 3 - Digital Download SKU: A0.1012599 Composed by Michelle Kraak. Contemporary,Instructional. Score. 5 pages. Michelle Kraak #6102853. Published by Michelle Kraak (A0.1012599). This is a set of three miniature intermediate trumpet duets focusing on developing specific skills on the trumpet. It could be used for a recital, in trumpet lessons or just as a practice tool with a friend. The three sisters are mythological creatures, with snakes for hair and gazes that turns one into stone. The overall character of these three miniature duets is nasty. This can help a young trumpeter practice accessing different emotions in their playing. Euryale is a study in trills. This sister, who was the second oldest, was vicious, with brass hands and fangs. She is especially noted for her bellowing cries, which is emulated in the obnoxious trills in the opening. Medusa was a beautiful maiden. Turning men to stone was defense mechanism for her, as the mythological story details she suffered at the hands of Poseidon. Of the three sisters, I thought Medusa was somewhat misunderstood. Her movement as a result is a little tamer, but still has a sense of unease. The movement is constructed as a round, which can help develop skills in timing and form. The final sister, Stheno, utilizes some more complex rhythmic figures. Stheno was arguably the most ferocious of the three sisters, having turned more men to stone than both of her sisters combined. This movement is marked wild and should be played without any reservations.2 minutes 12 secondsashevilletrumpet.comhttps://www.facebook.com/kraakmichellehttps://www.instagram.com/kraakmichelle/https://www.linkedin.com/in/michelle-kraak-71b0258a/

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

Full Orchestra - Level 4 - Digital Download SKU: A0.755203 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 253 pages. Sy Brandon #3415579. Published by Sy Brandon (A0.755203). Legacy is a three movement composition for chamber orchestra that makes social commentary on the issue of global warming. It was commission and premiered by the Washington Sinfonietta, Rufus Jones, conductor. I. Conflicts - This movement begins with a cry from native cultures admonishing our neglect of the environment. The cry is interspersed with debate regarding the seriousness of global warming (woodwinds). The debate grows stronger as the cries grow weaker. The debate is quieted by a measure of repeated chords that could be the words, stop it! stop it now!. A weak cry in the English Horn brings the introduction to a close. An Allegro section follows with a rhythmic and primitive sounding section representing the underdeveloped nations that are destroying the rain forests for economic gain. This material evolves into a more harmonic and contrapuntal section representing industrialized nations reluctant to change, also for economic reasons. Things quiet down as the music takes the listener to another part of the globe, East Asia. Conflict is again present in this section. The music returns to a varied restatement of the industrialized nations music before traveling to India for a section influenced by Raga. This section builds in dissonance until we hear the repeated stop it now chords from the introduction. A brief reprise of the cries bring the movement to a close. II. Consequences - This movement evokes a somber mood that is reflective of living in a climate of extremes. The movement is in arch form as it begins and ends with open harmony reflective of barren lands that once were fertile. The middle section serves as a climax expressive the harshness of the climate. Colleen McCollough’s book, A Creed for the Third Millennium was a source of inspiration for this movement. III. Sacrifice and Compromise - The movement begins with a strong section that suggests progress. It is followed by a quieter and intense section that alternates lyrical lines over a staccato ostinato that creates a sense of urgency. The opening section returns and is followed by a development of the ostinato section. This section is symbolic of how ideas need to be adapted in order for progress to be made. The opening section returns once more before leading into the concluding section where there is coming together of the instruments on a long lyrical line representing more and more people working together for change. The movement ends with a sense of triumph over adversity.The score prints on legal size paper and the parts on letter.

Small Ensemble Cello,Clarinet,Piano,Violin - Level 4 - Digital Download SKU: A0.755023 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 94 pages. Sy Brandon #3244205. Published by Sy Brandon (A0.755023). Legacy is a three movement composition that makes social commentary on the issue of global warming. It was commission and premiered by the Washington Sinfonietta, Rufus Jones, conductor, and later transcribed by the composer for quartet for the chamber music group, enhaké. I. Conflicts - This movement begins with a cry from native cultures admonishing our neglect of the environment. The cry is interspersed with debate regarding the seriousness of global warming. The debate grows stronger as the cries grow weaker. The debate is quieted by a measure of repeated chords that could be the words, stop it! stop it now!. A weak cry in the clarinet brings the introduction to a close. An Allegro section follows with a rhythmic and primitive sounding section representing the underdeveloped nations that are destroying the rain forests for economic gain. This material evolves into a more harmonic and contrapuntal section representing industrialized nations reluctant to change, also for economic reasons. Things quiet down as the music takes the listener to another part of the globe, East Asia. Conflict is again present in this section. The music returns to a varied restatement of the industrialized nations music before traveling to India for a section influenced by Raga. This section builds in dissonance until we hear the repeated stop it now chords from the introduction. A brief reprise of the cries bring the movement to a close. II. Consequences - This movement evokes a somber mood that is reflective of living in a climate of extremes. The movement is in arch form as it begins and ends with open harmony reflective of barren lands that once were fertile. The middle section serves as a climax expressive the harshness of the climate. Colleen McCollough’s book, A Creed for the Third Millennium was a source of inspiration for this movement. III. Sacrifice and Compromise - The movement begins with a strong section that suggests progress. It is followed by a quieter and intense section that alternates lyrical lines over a staccato ostinato that creates a sense of urgency. The opening section returns and is followed by a development of the ostinato section. This section is symbolic of how ideas need to be adapted in order for progress to be made. The opening section returns once more before leading into the concluding section where there is coming together of the instruments on a long lyrical line representing more and more people working together for change. The movement ends with a sense of triumph over adversity. Legacy has been recorded by enhaké on the Emeritus Recordings CD Legacy.

Chamber Orchestra - Level 5 - Digital Download SKU: A0.1453498 Composed by Sy Brandon. 21st Century,Contest,Festival. 235 pages. Sy Brandon #1032727. Published by Sy Brandon (A0.1453498). Legacy is a three-movement composition for chamber orchestra that makes social commentary on the issue of global warming. It was commission in 2007 by the Washington Sinfonietta, Rufus Jones, conductor and rewritten for chamber orchestra in 2023. I. Conflicts - This movement begins with a cry from native cultures admonishing our neglect of the environment. The cry is interspersed with debate regarding the seriousness of global warming (woodwinds). The debate grows stronger as the cries grow weaker. The debate isquieted by a measure of repeated chords that could be the words, stop it! stop it now!” A weak cry in the English Horn brings the introduction to a close. An Allegro section follows with a rhythmic and primitive sounding section representing the underdeveloped nations that are destroying the rain forests for economic gain. This material evolves into a more harmonic and contrapuntal section representing industrialized nations reluctant to change, also for economic reasons. Things quiet down as the music takes the listener to another part of the globe, East Asia. Conflict is again present in this section. The music returns to a varied restatement of the industrialized nations music before traveling to India for a section influenced by Raga. This section builds in dissonance until we hear the repeated stop it now chords from the introduction. A brief reprise of the cries brings the movement to a close. II. Consequences - This movement evokes a somber mood that is reflective of living in a climate of extremes. The movement is in arch form as it begins and ends with open harmony reflective of barren lands that once were fertile. The middle section serves as a climax expressing the harshness of the climate. Colleen McCullough's book, A Creed for the Third Millennium was a source of inspiration for this movement. III. Sacrifice and Compromise - The movement begins with a strong section that suggests progress. It is followed by a quieter and intense section that alternates lyrical lines over a staccato ostinato creating a sense of urgency. The opening section returns and is followed by a development of the ostinato section. This section is symbolic of how ideas need to be adapted in order for progress to be made. The opening section returns once more before leading into the concluding section where there is coming together of the instruments on a long lyrical line representing more and more people working together for change. The movement ends with a sense of triumph over adversity. Score prints on legal size paper and parts on letter.

Level 4 - Digital Download SKU: A0.553691 Composed by Edvard Grieg. Arranged by Ray Thompson. Holiday,Romantic Period. 16 pages. RayThompsonMusic #3507971. Published by RayThompsonMusic (A0.553691). The Holberg Suite, Op. 40, more properly From Holberg's Time (Norwegian: Fra Holbergs tid, German: Aus Holbergs Zeit), subtitled Suite in olden style (Norwegian: Suite i gammel stil, German: Suite im alten Stil), is a suite of five movements based on eighteenth century dance forms, written by Edvard Grieg in 1884 to celebrate the 200th anniversary of the birth of Dano-Norwegian humanist playwright Ludvig Holberg.It exemplifies nineteenth century music which makes use of musical styles and forms from the preceding century.The movements of the suite are:Praeludium (Allegro vivace)Sarabande (Andante)Gavotte (Allegretto)Air (Andante religioso)Rigaudon (Allegro con brio) ( This one)The Holberg Suite was originally composed for the piano, but a year later was adapted by Grieg himself for string orchestra. The suite consists of an introduction and a set of dances. It is an early essay in neoclassicism, an attempt to echo as much as was known in Grieg's time of the music of Holberg's era.Although it is not as famous as Grieg's incidental music from Peer Gynt, which is itself usually performed as arranged in a pair of suites, many critics regard the works as of equal merit.It is arranged here for double wind quintet, and I have transposed it from the original G to F to aid the clarinet 1 quaver figure.

Solo Guitar - Digital Download SKU: A0.942099 Composed by Apostolos Paraskevas. 20th Century,Contemporary,World. Individual part. 9 pages. Silver Sickle Publications #6227369. Published by Silver Sickle Publications (A0.942099). Nadir (1994) is written for prepared guitar, a term usually associated with a piano in which certain objects have been placed on the strings in order to alter the conventional sound of the instrument. Many composers have written music for prepared piano, among them John Cage, who, according to Mr. Paraskevas, was the inspiration for his transferring of the same technique to the guitar. It is quite possible that nobody has used this kind of technique on the guitar before. After experimenting with various materials, he decided on the use of two metal paper clips, which he puts at specific locations on the fingerboard, so that they best produce the desired sound effect, a sound both harmonic and percussive. Nadir  suggests the lowest point, here associated with the notion of death. The piece bears many programmatic references to the struggle between good and evil, life and death, musically portrayed in the persistent ostinato rhythms and the fragmented melodic phrases. Death cuts through in the form of an abrupt strike on the wood, the fingers continue to play but no sound is heard, until two more strikes make their movement stop. Little by little life and sound start again, but the final strike brings about the pessimistic message that fate and death predominate in the end. The piece ends with the inscription ...but sooner or later we live forever - a final optimistic touch. Nadir  was the outcome of continuous experimentation on the capabilities of the guitar as an instrument, and all the potential sound effects that one can draw from it. ...Dr. Paraskevas, is an amazingly versatile guitarist.  He conquers the many technical challenges of this repertoire with ease, he can sing with the purest tone (try the opening work, Alfonsina y el Mar, and see).  What makes Visions of Azure a wonderful guitar CD rather than simply a good one is the last 18 minutes.  The guitarist saves his own compositions for last, and if the ear is fatigued at this point in the recital. Paraskevas gives it good reason to wake up....I am sold on Paraskevas's playing, and do not think hunting down the alternatives is necessary.   In short, this is an essential CD for those interested in modern classical guitar. 

Easy Piano - Level 1 - Digital Download SKU: A0.1487478 By Marshmello & Bastille. By Dan Smith, Marshmello, and Steve Mac. Arranged by Annabelle Ayl. 21st Century,Children,Disco,Funk,Pop. Score. 6 pages. PianoTutorialsInCMajor #1064429. Published by PianoTutorialsInCMajor (A0.1487478). Are you a fan of Marshmello and Bastille and their hit song Happier? Enhance your musical experience with this printable sheet music for Happier! Performed, written and produced by MARSHMELLO, BASTILLE, STEVE MCCUTCHEON, DAN SMITH. Ideal for piano players, musicians, and fans of Marshmello and Bastille or the tune of Happier this digital download provides the full music piano score, allowing you to enjoy playing this captivating song at home or with friends and family.**Key Features:**- High-quality PDF format- Suitable for piano players- Transposed to C major making it easy for beginners- Clear, easy-to-read notation- Instant download for immediate accessEnrich your music collection with Marshmello's hit I Ain't Worried featuring Bastille! Print it, play it, and share the joy with other music lovers. Perfect for both beginners and experienced musicians, this sheet music is an essential addition to your repertoire.**YouTube Link for Song:** [Happier - Marshmellow & Bastille] (https://youtu.be/m7Bc3pLyij0?si=ioX7axGQ8O45c7va)This digital and printable sheet music in PDF format spans six (6) pages. The high-quality 300 dpi PDF file ensures excellent print quality on common international paper sizes, such as A4 and US Letter.Please note, this product is a digital PDF that you will receive instantly upon purchase and can print at your convenience. Downloads are not available through the Etsy app and must be done via an internet browser. Due to the nature of digital products, no refunds or exchanges are accepted.**All Rights Reserved**Enjoy learning and practicing this new piece with friends and family, and jam together to Marshmellow and Bastille's Happier song! <3.

Chamber Orchestra - Level 5 - Digital Download SKU: A0.1027777 Composed by MohammadHadi Ayanbod. 20th Century,A Cappella,Contemporary,Sacred. Score and parts. 32 pages. Rimorarte Edition #5996921. Published by Rimorarte Edition (A0.1027777). Canticum Canticorum, for Grand String Orchestra & Mixed Choir, is a musical piece based on the old text with the same name from Vulgate. The Canticum Canticorum text also known as Song of Songs, the Song of Solomon, the Canticle of Canticles, (Old Greek: Άσμα Ασμάτων, same meaning as song of songs). As David Berlo once beautifully put this into words: Meanings are in people … not in the messages …. The elements and structure of a language … are only symbols …. Meanings are not transmittable … Only messages are transmittable, and meanings are not in the message, they are in the message-users! Therefore, I needed to understand and interpret the text itself, even before I wanted to try setting it to the music. However, in order to understand the text correctly, one should comprehend the origin of the text and get to know its author(s), at first. In the case of Canticum Canticorum, both the author and the origin of the text are obscure. Furthermore, even the approximate date/century/era of the birth and the cultural context in which the text was created, are far from clear. According to the scholars, the creation of the text ranges from the tenth century B.C.; the era of Solomon, up to the first century B.C., and the origin of it considers from Indian, Tamil, or Ethiopic literature to Palestinian one. Because of these vast spectra of dates and cultures, I had to read and understand the text, compare with other sources, find similarities in other languages and cultures, hermeneutically interpret it and search for those non-written or metaphorical clues that may lead to unfasten the mystery has been attached to the text. In order to achieve the most accurate and faithful interpretation of the text I also had to answer few questions regarding the style, structure, medium, architecture and techniques of the music in relation to the text. I have used string orchestra and mixed choir to render the ideas, since that is among highly versatile instrumentations capable of providing small and delicate whispers, heavenly voices, and intonation changes that is hardly-reproducible by other mediums as well as thunderous sounds. Although Canticum Canticorum is single-movement work, but still possible to distinguish three different sections: the beginning choral part that is a long fugue in 5 voices with the material of serial music which helps orchestra to enter and grow, the a-capella middle section consists of two contrasting but invisibly related atmospheres and the third section – the recapitulation of the ideas already presented, in both the text and the music. The culmination of the work; 11-parts choral, takes place in the third section, somewhere near the end of the piece. Canticum Canticorum, for Grand String Orchestra & Mixed Choir, is dedicated to the genius composer of our time, Maestro Prof. dr. h.c. Krzysztof Penderecki.

Instrumental Duet Drums,Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.1013054 Composed by Christine Southworth. 20th Century,Contemporary,Jazz. Score and parts. 7 pages. Airplane Ears Music #5802089. Published by Airplane Ears Music (A0.1013054). Sharktooth Frenzy (2014, 4') solo pianist with snare drum and bass drum. For Danny Holt. Composed at The Hermitage Artist Retreat. I wrote Sharktooth Frenzy for Danny Holt in January 2014, while in residence at The Hermitage Artist Retreat in Manasota Key, Florida, a special place, paleotologically, because fossilized shark teeth from up to 50 million years ago wash up on the beach here every day. Around 50 million years ago, Florida was completely under the ocean, and layers of limestone accumulated to create the bed rock of Florida. Starting around 30 million years ago, as the Earth cooled, sea levels dropped and Orange Island emerged in what is now north central Florida. 10 million years later, in the Miocene period, tectonic activity forced uplift around Orange Island and Florida began to resemble the land mass it is today. The coastal area was still covered by a shallow sea, but land animals lived inland. Further north the Appalachian Mountains were forming and sediment was flowing into Florida making very nutrient rich waters, which sank to the bottom of these shallow seas entombing dead marine animals and teeth from sharks (sharks loose teeth frequently, going through up to 30,000 in their lives). This continued until around 5 million years ago. There is an abundance of these fossilized teeth and other bones in the Peace River Formation and Myakka River, which washes out into the gulf each day, and then subsequently the fossils wash up onto the beaches of Manasota Key and Venice Beach. So while I was composing this piece for Danny, I was also obsessively collecting shark teeth. I’d go out each day as the tide was retracting and collect hundreds, actually thousands, of teeth. And it was a bit of a frenzy. So I decided this piece had to be about this process, collecting as many teeth as I could find and coming back to write music!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

Instrumental Solo,Piano,Violin - Level 5 - Digital Download SKU: A0.987851 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and individual part. 29 pages. Robert M. Greenberg #100609. Published by Robert M. Greenberg (A0.987851). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 6 1/2 minutes Year of composition: 2011 Program Note: Titles, like mold-scum atop month-old cottage cheese, can take on a life of their own. South Bay Angle was originally composed in 1991 during an Astor Piazzolla-inspired fit of tango-madness. While a more appropriate title for the piece would have been something on the lines of I Can Write One of Those! or This Gringo’s Token Tango, circumstances conspired in another titular direction. The piece was originally intended for performance on a program produced by Composers, Inc., a new-music collective in which I was (and remain) an artistic director. Composers Inc. was then in its seventh season. In those days when newspapers still mattered, Composers, Inc. sought to receive as many print reviews as possible. To that end, the organization invited Paul Hertelendy - who was then the music critic for the San Jose Mercury News - to cover its concerts. He said he would do so provided that there was some sort of south-bay angle which addressed the specific needs of his south-bay readership. Thinking myself clever, I thus entitled the piece South Bay Angle. Hertelandy would get his angle and Composers, Inc. would get its coverage. It didn’t work out that way. The piece was never performed; Hertelendy never got his angle; and Composers, Inc. never received a review from the San Jose Mercury News. Instead, twenty years later, I returned to South Bay Angle and rewrote it from the ground up. The piece is cast as a large-scale A-B-A form. The violin is a willing participant in the tango during the A sections, but a rather reluctant tangoista in the B section, during which it tries mightily to turn the music into a waltz. It does not succeed, and the piece ends as it began, in a blaze of rhythmic fury.

Percussion Ensemble - Level 5 - Digital Download SKU: A0.1027778 Composed by MohammadHadi Ayanbod. 20th Century,Contemporary. Score and parts. 25 pages. Rimorarte Edition #5996957. Published by Rimorarte Edition (A0.1027778). In GRAVITY I explored different gravities as forces we not only feel them in every moments of our lives, but also thinking of living without or escaping from them seems impossible. Likewise, those gravities exist in the music, make us feel the music continuous, desirable, logical and an integrated language of art. The exploration of the path from chaos to unity, and from unity to multiplicity, is where the title came from. GRAVITY consists of two main sections. The first section, which shows the fully-grown and flourished musical ecosystem, and the second part; a flashback to just after big-bang, which tries to musicalize the creation of the gravity! In the first section, I’ve used the concept of horizontal and vertical minimalism. At the very beginning of the piece we have a structure that bring the idea of the vertical minimalism out. In every moment, each instrument plays the same note as others. However, the narrative line is divided into different octaves, so, the melody is not the same in spite of the fact that each instrument plays the same tone. This structure also reminds the paradoxical ladder or optical staircase illusion. The narration is built up until it reaches temporal climax. At the same time, this melody starts again from the beginning with some microscopic differences visible vividly to musicians. This semi reciprocating musical narration, could be observed as a musical example of the staircase illusion. After this part, but still in the first section of the music, I’ve used the horizontal (traditional) minimalism idioms to explore the bounding forces present in the music. Although, what interesting here is the creation of synthetic voices which is the result of different amounts of the nuances and different combinations of the sound. For keen ears, it seems like shades of neon lights, penetrate into one another in the scale of time and create a big picture of micro fluctuating objects. In the second section or just after big-bang, I’ve observed and recreate musically, the very moment of creation of the gravity just after the big-bang. Here, we don’t have melody, rhythm, structure, narration and other aspects of the music in the traditional way, although all of them are present in the music. very single sound or noise is meaningful and showing the assemblage process of the forces in the music to create a melody line. I’ve occupied idioms of contemporary Sonorism genre to create the atmosphere. This highly complex texture shows the virtuosity of interpreters and the capability of the instruments in avant-garde literature and extended techniques. The music is concluded by a fast-tempo finale, with the instruction of fortissimo possiblile (as loud as possible). The piece, in fact, will not be finished as a morendo, but, it opens a space for hypothetically living structure; constantly grows, flourishes, shines and decays.

Piano - Digital Download SKU: A0.1066690 Composed by THEMIS KOUTRAS. Christian,Gospel,Praise & Worship,Sacred. Full Performance. Duration 186. THEMIS KOUTRAS #5012667. Published by THEMIS KOUTRAS (A0.1066690). This is a song story how i was risen to life many times due to been martyred for the word of GOD i insisted in attacking enemy line casting all kinds of evil spirits to hell prediction to defend GOD and creation on the count of it i was killed in this spiritual war Armageddon each time i fell asleep for many years to come JESUS CHRIST insisted to resurrect me each time until he won the war because of it do not be surprised about this the holy bible clearly says when JESUS CHRIST was resurrected found alive many prophets and people of GOD were resurrected with him and they went directly to the the temple to preach the gospel well it is happening to today many reports came my way that some still get raised to life all others will be resurrected in the last days to enter new world heaven well i am one of those resurrected these days thanking GOD for his perfect holy help