Handbell - Level 2 - Digital Download SKU: A0.1307883 Composed by John Hatton. Arranged by Cheryl (Sutton) Baker - Bronze:FX. Christian,Contemporary,Easter,Religious. Score. 6 pages. Bronze:FX #897142. Published by Bronze:FX (A0.1307883). The title is derived from the tune name “Duke Street� and it depicts both the tempo and style of the arrangement. It is flowing and meditative, with colorful LV patterns and melody both in the bass and treble.The arrangement is for full bell choir using 3-6 octaves of handbells. Rated at a Level 2 when played with 11-12 ringers because of its slow tempo and easy rhythms, “A Stroll on ‘Duke Street’� can be interpreted very musically, with crescendos and spiritually high moments. Its three verses are each treated differently, with the last verse raises the key signature a half step and then yet another half step as it grows with intensity. Although based on a hymn tune, the title allows this arrangement to be used for any audience.For sacred environments, the arranger suggests that the text be studied for inspiration. There are several words set to the tune “Duke Street,� although the arranger favors the text that begins, “I know that my redeemer lives.� When performing the piece, use the first verse as a humble (and somewhat hesitant) prayer, the second verse more confident (by relying for God's promises), and the third verse as if obtaining divine reassurance. This would place the prayer-giver in a place of wonder – a spiritual mountain-top experience. Also, see the next paragraph's description, which could also be used for a spiritual experience with God the Creator.For secular environments, use the visual imagery of an early morning walk. You start out just before sunrise, when nature is quiet and there is still dew on the grass. As you continue your upward path, the sky begins to change colors and the birds to sing. Aiming for the viewpoint at the hilltop, tree shadows begin to form and the brush mirrors the orange and grey from the new sunrise about to appear. When the sun does rise, it seems to wash all the darkness away in a single instant, making this new day clean and perfect.Performance time:• 3 minutesPerformance notes are included.

Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. â€˜Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.

Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. â€˜Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.

Woodwind Ensemble - Level 5 - Digital Download SKU: A0.1028053 Composed by Sarah Hersh. 20th Century,Contemporary. 14 pages. Burbury Lane Music #4276953. Published by Burbury Lane Music (A0.1028053). No clarinet duet has made me stop in rehearsal and just smile so much from how cool things sounded. - Marcus Moore, clarinetist on Duo MpingoDuo Mpingo is an approximately 6 minute crowd pleaser that is perfect for any occasion. It is a modern but accessible piece that is loosely based on the lifecycle of a mpingo, or African blackwood, tree. It is a relatively advanced piece but could be performed by advanced level students. Duo Mpingo can be programmed equally well on environmental-themed or any other type of concert.Program Note: When I began to research the mpingo (African blackwood) tree in preparation for writing this piece, I came to learn that it is a fascinating tree. It has the ability to survive fires, it does not reach maturity for about 70 – 100 years, and it improves soil fertility. However, it is endangered in several African countries due to illegal logging and over-harvesting, in part because of its beautiful dark heartwood. The outside of the mpingo tree looks like any other tree with a light brown color; the inside, however, is a gorgeous, dark brown-black color – a color you have seen if you’ve ever seen a clarinet, as clarinets, along with other western instruments, are made out of the dark heartwood of the mpingo tree. I had never stopped to think about why wooden clarinets have such a dark color instead of what one typically thinks of as a wood color. I was astonished by the hidden beauty of this tree and what secrets lay inside.Duo Mpingo is somewhat programmatic in that it loosely chronicles the imagined life of a mpingo tree. There is a short section close to the middle of the piece (the inner part of the piece, if you will) that is meant to evoke the beautiful, mysterious, endangered dark heartwood of the mpingo tree. The direction to the performers for this section is solemn, prayer-like, reverential, which is how I feel we should look at every tree – not as something in our way that needs to be cut down, but with reverence for the amazing living things they are.Duo Mpingo was commissioned and premiered by Daraja Music Initiative and Clarinets for Conservation to promote a sustainable planet. This recording is by members of Terminus Ensemble, Marcus Moore and Lauren Murphy. To hear the entire piece, please visit www.sarahhersh.com.The composer is a member of ASCAP and may be reached at www.sarahhersh.com or sarahhershcomposer@gmail.com.

Choral Choir,Choral (SATB) - Level 1 - Digital Download SKU: A0.1313835 Composed by Traditional West African folk song. Arranged by Kathleen McGuire. A Cappella,Folk,Multicultural,Traditional,World. 2 pages. Kathleen McGuire #902556. Published by Kathleen McGuire (A0.1313835). This traditional West African folk song (lullaby or processional) is highly versatile. Most likely from Liberia in the Yoruba language, it could be used simply as a melody, as a 2-4 part round, as a simple 2-4 part warm-up exercise, or in multiple parts as a concert piece utilising SATB choir and soloists, or splitting choral voices into multiple parts. The arrangement includes performance suggestions, plus instructions for body percussion or added ad lib African percussion. Arranger KATHLEEN MCGUIRE has incorporated ideas from various traditional sources into one page for ease of learning.It is suitable for any ages or abilities. The words translate loosely in English to: We are sorry, I am sorry. What's up? What are you dreaming? Come to us.Listen to a 1955 recording by The Song Swappers and Pete Seeger: https://folkways.si.edu/the-song-swappers-and-pete-seeger/banuwa-yo/american-folk-world/music/track/smithsonian

Full Orchestra - Level 3 - Digital Download SKU: A0.976734 Composed by Robert Myers. 20th Century,Christmas,Contemporary. Score and parts. 99 pages. WheatMyer Music #6496769. Published by WheatMyer Music (A0.976734). CONJUNCTION interprets the convergence of Jupiter and Saturn near the end of the year 2020 as a celestial metaphor for the good news of Christ's birth in a replay of the Star of Bethlehem. Hence, its subtitle of The Christmas Star of 2020. The music, along with narration from selected Old and New Testament scriptures, delivers a message of hope amid the turmoil and chaos of current times.It's written for smaller concert bands hungry for challenging music. Ample cues and doubling allow for flexible instrumentation while mixed meters, varying tempos and textures, and interesting solo lines provide opportunities for strong players to shine. CONJUNCTION is also available with strings for orchestra.PROGRAM NOTES:2020 is widely characterized for its maladies: murders, burning cities, riots, a pandemic, economic shocks, and political turmoil. For some of us, it also held personal tragedy such as my brother’s passing from COVID. But, 2020 also brought a sign of hope, namely the celestial phenomenon known as the Great Conjunction of 2020. For earth-bound observers, this was the closest approach of Jupiter and Saturn in almost 400 years as they appeared to almost touch in the early evening sky to produce the most brilliant evening star of our lifetimes. The occurrence of the event in November-December neatly coincided with the Advent season, peaking just before Christmas Day. One could hardly fail to note the parallels with the Christmas star of Matthew’s gospel which gave the conjunction its alternate name, the Christmas Star of 2020. Thus, this star spoke, to those with ears to hear, the same message the prophet Isaiah wrote about the coming Messiah, The people that walked in darkness have seen a great light. This star thus served to remind us that the LORD has not rejected us; He will show His favor again; His love has not vanished; His promises have not failed; He has not forgotten to be merciful or compassionate; and we are called to remember His mighty deeds (Psalm 77). CONJUNCTION: The Christmas Star of 2020 is inspired by these particulars.For the music, I looked to Gustav Holst’s The Planets for themes that would portray Jupiter and Saturn’s pas de deux. I selected several motives from the corresponding movements mixed and matched in sometimes easily recognized quotations and other times in heavily camouflaged derivations. An exuberant polyphonic passage recaps themes from both Jupiter and Saturn when the music resolves from uncertainty into hopefulness. While Holst’s motives provide CONJUNCTION’s foundation I also used Handel’s Messiah for transitory and climactic material. You will hear his The people who walked in darkness have seen a great light in transitions and a short trombone solo. And a re-harmonization of the opening line from For unto us a child is born brings the music to a joyous climax.Although the music stands firmly on its own, I elected to incorporate some narrative to make the musical sentiment explicit. In a commentary on 2020’s grim events, I took adaptations of Habakkuk 1:2-4 and 2 Tim 3:1-4 and set them over Saturn’s plodding and ominous harmonies. Contrasting replies shimmer with hope as the narration melds Isaiah 9:2 and Luke 1:78-79 over another Saturn motive set against pitch sets from Jupiter’s main hymn theme. Still, it’s the music that tells the story of the Christmas Star of 2020.Please visit my website for a complete score preview: https://wheatmyermusic.com/conjunction-the-christmas-star-of-2020I feel somewhat guilty making claim to this music as almost all the building blocks are taken from other composers. But the end result is neither a medley, nor an arrangement, rather it is something clearly new, so I call it my own with deep respect to those giants on whose shoulders I stand.Robert MyersS.D.G.

Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.736289 Composed by Phyllis Avidan Louke, ASCAP. 20th Century,Contemporary. 62 pages. Louke Publishing #4405244. Published by Louke Publishing (A0.736289). For Flute Choir Cloud Images By Phyllis Avidan Louke Cloud Images is a programmatic work in five movements for Flute Choir dedicated to Albert Weatherly of Sankyo Flutes, USA. The inspiration for this piece came from the beauty of the cloud formations observed during a long plane flight.  Movement 1, Rising Above the Clouds, features a soaring melody played first by the bass and alto flute over an ostinato played by the flutes. The piccolo adds a countermelody which contributes to the feeling of being above the clouds. (1:30)  Movement 2, Billowing Clouds, features a melody in 7/8 time, alternating with another in 6/8 time, to convey the the shape and roundness of clouds.   (2:00) Movement 3, Oh Look! There’s an Alligator!, is a whimsical look at the different shapes that can be found in clouds. A running bass line in the bass flute supports a jaunty melody which seems to be on the prowl to find various shapes in the clouds. Several different animal shapes are seen: a hippo, an elephant, and finally, an alligator. Vocals can also be utilized in this movement to better communicate these animal shapes to the audience. (2:20)  Movement 4, With Your Head in the Clouds, is in a light-hearted soft shoe style. The melodies describe the feeling of skipping through life, not having a care in the world. For a Lawrence Welk ending, one of the players with rests can blow bubbles during the last measure. (1:40)  Movement 5, Through a Sea of Clouds, has a dream-like quality imagining what it would be like to travel through a sea of clouds and touch their whispy softness. The bass flute is prominently featured, and later joined by the alto flute. The piccolo adds the frosting on top. (2:30)   Phyllis Avidan Louke is a flutist and award-winning composer and arranger with more than 70 published pieces to her credit. www.phyllislouke.com    

Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.1251785 Composed by Jonathan David Whitcomb. Christian,Classical,Easter,Religious,Sacred. Octavo. 7 pages. Whitcomb Music #845962. Published by Whitcomb Music (A0.1251785). The music is by Jonathan David Whitcomb, with some of the words from an English translation of an ancient text: mostly in *Third Nephi, what is now designated Chapter 11. Whitcomb added and arranged some words to work musically.Most of the lyrics center around an account of the appearance of Jesus Christ to people of the American continent many centuries ago.*(in the Book of Mormon)PART ONEPress forward: Feast of the word of Christ;Behold you shall have eternal life.Hold to the rod: the word of God;Behold the tree of the love of God.We like sheep had gone astray,Turning from the chosen way.Turn again. Turn to God.While the Shepherd seeks a stray,Father, help us keep to the Way.Now comes a still small voice.Behold my Son, my Beloved Son:Come unto Him for eternal life.Behold His hands, his feet and side:For you he bled and died.Turn to Him. Come unto Christ.Come to Him.PART TWONow comes a man in white.I am Jesus Christ. Come to me.I am the light and the life of the world.I have been slain for the sins of the world.Feel the wounds in my hands and my feet and side.See with your eyes; feel with your hands.Come to me.

Piano Solo - Intermediate - Digital Download Composed by Juan María Solare. Contemporary Classical, Post-Romantic, Neo-Classical, Repertoire, Funeral. Score. 8 pages. Published by Juan Maria Solare

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.956046 Composed by Lyrics, Music, Sheila Gagen, and Teresa OConnell (BMI). Arranged by Teresa OConnell (BMI). Christian,Sacred. Octavo. 16 pages. Teresa O'Connell (BMI) #5774747. Published by Teresa O'Connell (BMI) (A0.956046). Lord, Heal Our Land musically asks for the Lord's comfort and healing during difficult and uncertain times. Let today be a day of healing when so much of it seems torn...All the good we were sharing before is still where we stand. Let the Comforter come near to us and Lord, heal our land. The lovely melody, easy harmonies, and simple, yet poignant piano accompaniment will speak gently to your singers and audience. Sheila Gagen's lyrics were inspired by He has shown you, O mortal, what is good. And what does the Lord require of you? To act justly and to love mercy and to walk humbly with your God. Micah 6:8 - NIV (NOTE:  Demo recording and Youtube link are the Two-Part arrangement). .

Trombone Duet Trombone - Level 4 - Digital Download SKU: A0.1297340 Composed by Gioachino Rossini. Arranged by David Mathie. 19th Century,Classical. Score. 16 pages. Gordon Cherry #887420. Published by Gordon Cherry (A0.1297340). Here is what arranger David Mathie writes about the 5 Duos by Rossini.Gioachino Rossini was an Italian composer, born in 1792 and died in 1868. He was known primarily for his thirty-nine operas, although he did compose some chamber pieces and a few orchestral works. His 5 Duos for 2 Horns in E♭ were probably written in 1806 when Rossini was fourteen and living in Bologna, although they weren’t published until 1861. While it may seem unusual for a fourteen-year-old to be composing, by then Rossini had already written his String Sonatas at the age of twelve, and those works are still performed today. An explanation for why Rossini would write a set of duets for horn may be that his father was a professional trumpet player, and taught his son Gioachino to play the horn at a very young age.These five pieces were written for the natural (valveless) horns of the time, and like the horn writing of Mozart some very technical passages can be found in the lower part, especially in duets four and five. We can also hear the future opera composer’s arias in number three. The duos will work quite well on recitals and also for casual duet playing. Because trombonists can never have enough practice in clefs, I have transcribed the duets into three versions each using bass, tenor and alto clefs.The 5 Duos in 3 Clefs by Rossini arranged by David Mathie are perfect studies for any aged performer to begin learning Tenor and Alto Clefs. The duet format allows the teacher to play alongside the student, which is always so valuable for learning. They are of moderate difficulty making them well-suited for the Clef Novice to begin adding these necessary tools to their technique.

Percussion Ensemble - Level 2 - Digital Download SKU: A0.942726 Composed by Frank Pugh. Standards. Score and parts. 24 pages. Frank Pugh #6018905. Published by Frank Pugh (A0.942726).  I wrote Nuevo-Nueve for an ensemble of nine new first-time percussion students.  Nuevo meaning new or different, and Nueve meaning nine, seemed to be a good title for the piece.  Going along with the concept of nine, the song is written in nine bar phrases and has a total of 99 measures as well.  It uses simple and repetitive patterns to introduce students to the instruments that are utilized in the piece.  Out of the nine students that I originally wrote it for, six were wind players and the other three had never read music.  They had great success with it (and a lot of fun, too!).     The first four parts are all listed as generic mallet parts, and all work pretty well with whatever mallet instruments that you have available.  Part 3 and 4 double each other, but part 4 is in bass clef.  They are written on the same sheet.  If you have the equipment for it, I recommend the following instrumentation: Part 1:  bells or marimba Part 2:  vibraphone Part 3:  marimba Part 4: (optional, bass clef, doubles part 3):  bass guitar, keyboard, or mallet controller Part 5:  hi-hat cymbal, suspended cymbal, mounted tambourine Part 6:  guiro, castanets, maracas, two pitched toms Part 7:  drum set Part 8:  suspended cymbal, china cymbal, splash cymbal, triangle Part 9:  concert bass drum, cabasaBe sure to check out my other small ensemble arrangements here on Sheet Music Plus, and thanks for taking a look!

Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.896716 Composed by Hannah Baldoz. Contemporary. Score. 3 pages. Hannah Baldoz #5869351. Published by Hannah Baldoz (A0.896716). Someday - An original composition with music and lyrics by Hannah Baldoz.Someday we will find what we are looking for. Or maybe not. Maybe we will find something much greater than that. ––AnonymousLyrics:I see your painI know how you feelYou have been hurtYour scars are realI know you’re brokenBut darling don’t you cryYou’ll find the wings to flySomeday you’ll findThe love that you’ve longed forSomeday you’ll beWhat you’ve dreamed and moreSo until thenJustKeep believingYou can be freeBecauseThough you’re in painYour life is not doneAfter the rainThere will be sunI know you may feelAfraid and lost tonightBut morning brings new light© 2018 by Hannah Baldoz. All rights reserved.For more music by Hannah Baldoz visit https://www.youtube.com/channel/UCNhkUVEv4QBCytIbBIPG6xg

Alto Voice,Cello,Double Bass,Viola,Violin - Digital Download SKU: A0.1059518 Composed by Traditional. Arranged by Lorin Nelson, David Warin Solomons. 20th Century,Children,Contemporary. Full Performance. Duration 178. David Warin Solomons #3397199. Published by David Warin Solomons (A0.1059518). Jolly version of this famous nursery song by Lorin Nelson and David Warin SolomonsA frog he would a-wooing go, mm mm, mm mm, A frog he would a-wooing go, Whether his mother would let him or no, mm mm, mm mm. He rode right to Miss Mousie's den, mm mm, mm mm, He rode right to Miss Mousie's den, Said he, Miss Mousie are you within? mm mm, mm mm. Oh yes, Sir Frog, I sit and spin, mm mm, mm mm, Oh yes, Sir Frog, I sit and spin, So open the door and walk right in, mm mm, mm mm. He said, Miss Mousie I?ve come to see, mm mm, mm mm, He said, Miss Mousie I?ve come to see, If you, Miss Mousie, will marry me? mm mm, mm mm. I don't know what to say to that, mm mm, mm mm, I don't know what to say to that, 'Til I can see my Uncle Rat, mm mm, mm mm. When Uncle Rat came riding home, mm mm, mm mm, When Uncle Rat came riding home, Said he, Whose been here since I've been gone? mm mm, mm mm. A fine young gentleman has been here, mm mm, mm mm, A fine young gentleman has been here, Who wants to marry me, that is clear, mm mm, mm mm. So Uncle Rat, he rode to town, mm mm, mm mm, So Uncle Rat, he rode to town, And bought his niece a wedding gown, mm mm, mm mm. Where shall our wedding supper be, mm mm, mm mm, Where shall our wedding supper be? Down in the trunk of the hollow tree, mm mm, mm mm. The first to come was the Bumble Bee, mm mm, mm mm, The first to come was the Bumble Bee, He strung his fiddle over his knee, mm mm, mm mm. The next to come was a Crawley Bug, mm mm, mm mm, The next to come was a Crawley bug, He broke the bottle and smashed the jug, mm mm, mm mm. The next to come was the Captain Flea, mm mm, mm mm, The next to come was the Captain Flea, He danced a jig with the Bumble Bee, mm mm, mm mm. The Frog and Mouse, they went to France, mm mm, mm mm, The Frog and Mouse, they went to France, And this is the end of my romance, mm mm, mm mm

Piano Solo - Digital Download SKU: A0.976836 Composed by Monica Bergo. Christian,Sacred,Spiritual. Score. 7 pages. Monica Bergo #3235483. Published by Monica Bergo (A0.976836). 2017 Holiday Contest EntryPrayer   I remember, as a child That  church scared me low voices, eyes down And people did not laugh   Your suffering  face From the cross looking at me your hands tormented And the blood dripping And I remember those nights  when I will praying and invoked  you Change quickly my life Only this I was wondering   And I was fragile Like a leaf in the wind so useless prey to every torment   and I was still but always in motion voice of the soul screaming without complaint   I remember gray days in which I was looking for you, and you begged and the silence around me amplified my empty and retrace the hours when there was nothing to hold onto and the question was: God exist or not?   Kneeling in your church They say this is your home I am seeking warmth and yet I feel stateless And it was cold the bench, as my heart I look at your mother and her pain To be loved, is what I want too   And I  will pray It will be an incredible dialogue Inside me I hear you in every fiber of my being and reborn we are born to regret because every day here we die a little ' I will rise again?   and I will pray and your voice that will envelop me already it turns into freedom you, father, friend You know that peace do not ever leave me stops my time at this moment while you're in me, so present I ask for nothing more   and  you are shelter and belief a search of attention I always hovering well between damnation and redemption   no fate is already sealed and you delete my past and my days without faith I leave them behind me  a thousand prayers I will invent I do not follow a book, I have only one chant written by my Lord, I do not see but it is always beside me ... ..                                                                Monica Bergo