String Ensemble Cello,Double Bass,Viola,Violin - Digital Download SKU: A0.1247884 Composed by Traditional. Arranged by Christian Morris. Traditional. 17 pages. Hoopla Sheet Music #842441. Published by Hoopla Sheet Music (A0.1247884). A funky arrangement of the traditional U.S. song, variously described as a Christian folk hymn, an African-American spiritual, an Appalachian song, and a southern gospel song.

Violin Solo - Level 2 - Digital Download SKU: A0.914707 Arranged by Christian Morris. Christian,Gospel,Rock. 7 pages. Hoopla Sheet Music #6673841. Published by Hoopla Sheet Music (A0.914707). A funky arrangement of the traditional U.S. song, variously described as a Christian folk hymn, an African-American spiritual, an Appalachian song, and a southern gospel song.

Harp - Level 3 - Digital Download SKU: A0.928330 By Patsy Cline. By Willie Nelson. Arranged by Karen Peterson. Country. Score. 2 pages. Karen Peterson #5955415. Published by Karen Peterson (A0.928330). This Countrypolitan song made famous by Patsy Cline was written by a not-yet-famous Willie Nelson. The attitude of the protagonist has been described as variously bemused, bittersweet, and cathartic. What is it to you, and how can you bring that emotion into your playing?My double-strung arrangement sets accidentals in the LH prior to playing, allowing the song to proceed without lever flips. The optional lever flip at the very end can be easily eliminated, making this song a great opportunity to practice flipping on the right with an easy recovery if you can’t get it in time.Key and range: Bb major (two flats). 21x2 strings. C below middle C through B. Preset B natural, C#, E natural, and F#.Lever changes: One optional lever change on the right. Set four accidentals on the left before playing.Good for: Parties, performance.

Contrabassoon solo - Digital Download SKU: IZ.IMS171 Composed by Daniel Baldwin. Score and Parts. 5 pages. Duration 3. Imagine Music - Digital #IMS171. Published by Imagine Music - Digital (IZ.IMS171). 9 x 12 in inches.Kui is a polysemous figure in ancient Chinese mythology named for the legendary musician Kui who invented music and dancing and for the one-legged mountain demon or rain-god variously said to resemble a Chinese dragon, a drum, or a monkey with a human face. Kui is also defined as an instrumental composition in Turkic culture around 4 minutes length. This type of composition is generally performed with different national plucked, bow and wind instruments.I enjoy drawing inspiration fromAsian mythology in my unaccompanied works and have employed the myth of the one legged dancing musician. I have combined with this imagery elements of jazz and rock and roll which I use freely throughout the work. It is a brief bravura solo work, but is says much in its brief three minutes.

French Horn Solo - Level 3 - Digital Download SKU: A0.914705 Arranged by Christian Morris. Christian,Gospel,Rock. Individual part. 7 pages. Hoopla Sheet Music #6673831. Published by Hoopla Sheet Music (A0.914705). A funky arrangement of the traditional U.S. song, variously described as a Christian folk hymn, an African-American spiritual, an Appalachian song, and a southern gospel song.

Brass Ensemble Trombone - Level 3 - Digital Download SKU: A0.888154 Composed by Antoine de Févin, Antoine Divitis. Arranged by Ben Williams-Stacey. Classical,Contemporary,Renaissance. Score and parts. 7 pages. BWS Music #4603155. Published by BWS Music (A0.888154). An arrangement of the Kyrie from 'Missa Pro fidelibus defunctis' for Trombone Quartet.This mass has variously been attributed to Antoine de Févin (1473 - 1512) or Antoine Divitis (c.1473 - c.1528)It has been transposed down a minor 3rd, and the words have been included in the parts in order to inform phrasing.Accidentals above the stave may be included at the performers discretion. There are no technical challenges, but the top part will require fairly good stamina.

Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1200447 By Simon And Garfunkel. By Paul Simon. Arranged by John Fries. 20th Century,Jazz,Standards. Score. 3 pages. John Fries #799274. Published by John Fries (A0.1200447). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer. Thanks, John.  Still Crazy After All These Years is a song by the American singer-songwriter Paul Simon. It was the third and final single from his fourth studio album of the same name (1975), released on Columbia Records. Though the song briefly reached the top 40 of the Billboard Hot 100 in the U.S., it was a bigger hit on the magazine's Easy Listening chart, where it peaked at number four Still Crazy After All These Years begins with the singer singing that I met my old lover on the street last night. The old lover has been variously interpreted to be either Simon's ex-wife Peggy Harper, from whom he was recently divorced, his former girlfriend from the 1960s Kathy Chitty, or even Simon's former musical partner Art Garfunkel, who appears on the song that follows 'Still Crazy After All These Years on the album. After sharing a few beers, the singer and the old lover part ways again.

String Ensemble,String Trio Cello,Viola,Violin - Level 2 - Digital Download SKU: A0.802693 Composed by Anon. or Fernando Sor, or Narciso Yepes. Arranged by Shigeo Ida & Peet du Toit. Contemporary. Score and parts. 6 pages. Peet du Toit #6513457. Published by Peet du Toit (A0.802693). Romance Anónimo (Anonymous Romance) is a piece for guitar, also known as Estudio en Mi de Rubira (Study in E by Rubira), Spanish Romance, Romance de España, Romance de Amor, Romance of the Guitar, Romanza and Romance d'Amour among other names.Its origins and authorship are currently in question. It is suspected of originally being a solo instrumental guitar work, from the 19th century. It has variously been attributed to Antonio Rubira, David del Castillo, Francisco Tárrega, Fernando Sor, Daniel Fortea, Miguel Llobet, Antonio Cano, Vicente Gómez, and Narciso Yepes. The Anónimo (anonymous) part of its name has been incorporated over the years due to this uncertainty. The question of authorship has probably been propagated by three main reasons: the lack of claim by its true author, the desire to avoid paying copyright fees, and the desire of publishing companies to claim the lucrative copyright of this world-famous piece.The style of the piece is that of the Parlour music of the late 19th century in Spain or South America, having a closed three-part form: the first in the minor key and the second being in the major key, with the third being a restatement of the first.Narciso Yepes (1927 - 1997) interpreted and is listed as the author of the piece in René Clément's 1952 film Jeux interdits (Forbidden Games). The popularity of the film gave the piece worldwide fame. Yepes currently has the copyright of this composition in Spain although recordings and manuscripts of this song predate 1952. Newer publications show Yepes as the arranger and the piece being of anonymous authorship, or authored by Fernando Sor.The official statement from Narciso Yepes and the Yepes heirs is that Narciso Yepes, being a young boy, originally composed the piece for his mother when he was about seven years old (c.1934) and soon thereafter performed it between acts at the Teatro Guerra, in Lorca, Spain. Some time later, he recounts, when he was thirteen years old he attended a performance in Valencia and heard his composition performed by another guitarist, who indicated the authorship as anonymous. Yepes contends that the melody had been plagiarized (with some changes to the arrangement) by someone who, he assumes, must have attended that first performance. However, Yepes was born 1927 and cannot be the author of the work, since it was already recorded in 1900 and published before 1925 (possibly 1913) by J.A. MEDINA e HIJO; and in 1919 in themethod of Pedro Mascaró y Reissig, etc. Vicente Gomez (1911-2001) published it and performed it in 1941 in the Hollywood movie Blood and Sand with Tyrone Powerand Rita Hayworth, also attributing authorship of the song to himself. Anyway, the piano arrangement of the brilliant Shigeo Ida caught my attention and I decided to rework it somewhat into this trio for strings. Enjoy!

Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 3 - Digital Download SKU: A0.554017 By The Beatles. By John Lennon and Paul McCartney. Arranged by Ray Thompson. Contemporary. 11 pages. RayThompsonMusic #6495521. Published by RayThompsonMusic (A0.554017). I Am the Walrus is a song by the English rock band the Beatles from their 1967 television film Magical Mystery Tour. Written by John Lennon and credited to Lennon–McCartney, it was released as the B-side to the single Hello, Goodbye and on the Magical Mystery TourEP and album. In the film, the song underscores a segment in which the band mime to the recording at a deserted airfield.Lennon wrote the song to confound listeners who had been affording serious scholarly interpretations of the Beatles' lyrics. He was partly inspired by two LSD trips and Lewis Carroll's 1871 poem The Walrus and the Carpenter. Compositionally, every musical letter of the alphabet is invoked and every chord is a major or a seventh. Producer George Martin arranged and added orchestral accompaniment that included violins, cellos, horns, and clarinet. The Mike Sammes Singers, a 16-voice choir of professional studio vocalists, also joined the recording, variously singing nonsense lines and shrill whooping noises.Since the Hello, Goodbye single and the Magical Mystery Tour EP both reached the top two slots on the British singles chart in December, I Am the Walrus holds the distinction of reaching numbers one and two simultaneously. Shortly after release, the song was banned by the BBC for the line Boy, you've been a naughty girl, you let your knickers down. Arranged wood wind quartet: fl, ob, cl and bsn.

Solo flute - Digital Download SKU: IZ.IMF173 Composed by Daniel Baldwin. Score and Parts. 5 pages. Imagine Music - Digital #IMF173. Published by Imagine Music - Digital (IZ.IMF173). 9 x 12 in inches.Kui (Chinese: Kui ) is a polysemous figure in ancient Chinese mythology named for the legendary musician Kui who invented music and dancing and for the one-legged mountain demon or rain-god variously said to resemble a Chinese dragon, a drum, or a monkey with a human face. Kui is also defined as an instrumental composition in Turkic culture around 4 minutes length. This type of composition is generally performed with different national plucked, bow and wind instruments. I enjoy drawing inspiration from Asian mythology in my unaccompanied works and have employed the myth of the one legged dancing musician. I have combined with this imagery elements of jazz and rock and roll which I use freely throughout the work. It is a brief bravura solo work, but is says much in its brief three minutes.

Viola Solo - Level 3 - Digital Download SKU: A0.914706 Arranged by Christian Morris. Christian,Gospel,Rock. Individual part. 7 pages. Hoopla Sheet Music #6673837. Published by Hoopla Sheet Music (A0.914706). A funky arrangement of the traditional U.S. song, variously described as a Christian folk hymn, an African-American spiritual, an Appalachian song, and a southern gospel song.

Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 2 - Digital Download SKU: A0.1247885 Composed by Traditional. Arranged by Christian Morris. Traditional. 17 pages. Hoopla Sheet Music #842442. Published by Hoopla Sheet Music (A0.1247885). A funky arrangement of the traditional U.S. song, variously described as a Christian folk hymn, an African-American spiritual, an Appalachian song, and a southern gospel song.

Concert Band - Level 2 - Digital Download SKU: A0.958083 Composed by Unknown Traditional folk songs. Arranged by David Berlin (ASCAP). Instructional,Romantic Period,Standards. Score and parts. 96 pages. David Berlin #3559075. Published by David Berlin (A0.958083). This collection of folk melodies from Ireland can be studied independently or in a variety of groupings. While created in open scoring for beginning and young instrumentalists, these pieces could be used by anyone. They are accessible with as few as two players and as many as are available in almost any combination of instruments. The folk melodies are also excellent to use as warm-ups because they can serve the purpose while also providing aesthetic value. The teacher is encouraged to be flexible and creative with them. Directors are encouraged to perform these in various combinations and sets. Feel free to be creative. For example, repeats could be added featuring various soloists and/or small groupings in contrast with the full group (as in a concerto.) Creativity could be promoted by allowing students to make suggestions pertaining to the formal organization of the material. In addition to decisions as to which pieces to perform directors are encouraged to involve students in making creative decisions such as which ones to put together, which phrases to repeat in various combinations and instrumental subsets and other appropriate aesthetic decisions. Each piece could function as a locus for branching into various content areas in connection with social studies, integrated curriculum and/or inquiry. Many of the melodies have very smooth and conjunct voice leading making them excellent for solfege/sight-reading training. These melodies are offered as a resource for the teacher to use in a variety of ways and possibilities are unlimited. Lyrics are readily available online. 

Baritone Horn TC,Vocal Solo,Voice - Level 4 - Digital Download SKU: A0.1023338 Composed by Kristian S Rodriguez. 20th Century,Contemporary,Latin. 10 pages. Kristian S. Rodriguez #5191599. Published by Kristian S. Rodriguez (A0.1023338). I composed this piece as part of a larger song cycle, Colores mexicanos, which I wrote as part of an undergraduate thesis, Colores mexicanos: The Mexican Art Song and Setting Mexican Texts to Music (2016). This cycle explores various texts from various perspectives throughout Mexican history, culture, and society, while reflecting influences from Mexican folk and academic music within the composition. Si yo nunca... is the second piece in the cycle, and like the first, it features text from the Cantares mexicanos, written by Mexica authors during the beginning of the Spanish viceroyalty period in the 16th century. This text uses vague, abstract language to emphasize the idea that human culture never truly disappears, and it’s fitting for a state freshly defeated by another civilization. The musical setting features the Andulusian cadence, a compositional device frequently used in Latin American music, distorted across various octaves and in various figures, as the singer suggests that there is more after death, a fitting metaphor for an ancient yet very active culture that still pervades Mexican society today.