Lever Harp - Level 1 - Digital Download SKU: A0.1319575 Composed by Alessandro Palazzani. Baroque,Instructional,Standards,Traditional,Wedding. Score. 248 pages. A work by Alessandro Palazzani #908133. Published by A work by Alessandro Palazzani (A0.1319575). Alessandro Palazzani:HARPING THROUGH PACHELBEL’S CANON a comprehensive method for the harp VOL. 1 BASIC LEVELOver 770 technical exercises based on Pachelbel’s Canon harmonic progression collected in four volumes ordered by level of difficulty  and containing all the topics of harp techniqueFOR EVERY KIND OF HARP This book has been written with the intention of providing harpists with a valuable study tool, combining what is useful but often not enjoyable (technical exercises) with what everyone loves to play (Pachelbel's Canon in D).We are so proud to present to you this extensive collection of over 770 exercises based on the harmony of Pachelbel's Canon. These exercises cover all aspects of playing the harp and are published in four volumes the first three are organized into three difficulty levels (basic, intermediate, and advanced). In each volume, thirteen different topics are explored, each with three levels of complexity. The fourth volume (miscellanea) completes the range of subjects with ten additional chapters.Vol. 1 BASIC LEVEL - Vol. 2 INTERMEDIATE LEVEL - Vol. 3 ADVANCED LEVELTopics of each volume 1. Articulation - 2. Scales - 3. Slides - 4. Glissandos - 5. Parallel Intervals - 6. Chords - 7. Arpeggios - 8. Batteries - 9. Thumb Extension & Melody - 10. Harmonics - 11. Mufflings - 12. Cross Fingering - 13. Trills, Tremolos & BisbigliandoVol. 4 MISCELLANEATopics of vol. 4 1. Ornaments - 2. Timbral Alterations - 3. Polyrythms - 4. Accompaniment Patterns  - 5. Polyphony - 6. Lever Changes - 7. Pedal Changes - 8. Various Etudes - 9. Warm-up Routine - 10. Pachelbel’s CanonWe hope that this work can become a reference point in your daily practice and warm-up routine, making even those moments in your practice session that are often dry and musically uninteresting more enjoyable and satisfying.

Piano Trio,String Ensemble Cello,Piano,Violin - Level 5 - Digital Download SKU: A0.987846 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and parts. 69 pages. Robert M. Greenberg #90269. Published by Robert M. Greenberg (A0.987846). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Video: https://www.youtube.com/watch?v=dZvxnzZ1oA8 Duration: ca. 18 minutes Year of composition: 2013 Program Note: I. Elegy and Variations II. Song and Dance (Shake, Rattle and Roll) III. Re-Invention (Toccatissima) Aside from being an obvious (if hackneyed) reference to the commissioning ensemble, Trio 180, the title 180 Shift well describes the large-scale dramatic action of the piece: from beginning to end, it traverses an expressive distance of 180 degrees, from elegiac sorrow to hot-footed sizzle. 180 Shift is cast in three movements. Each movement is based on the same thematic material, although that material is transformed continuously across the span of the piece. Movement one, Elegy and Variations consists of a series of a theme, six free variations of the theme and a quiet intermezzo before the sixth and final variation. The movement is melancholy, reflective, and generally subdued in tone. Movement two, entitled Song and Dance (Shake, Rattle, and Roll) sees materials introduced in the Elegy transformed first into a introspective song and finally into a vigorous, gigue-like dance. The three parts of the movement are characterized, respectively, by shakes (tremolos), rattles (in the piano; we’ll know them when we hear them) and rolls (arpeggios). Movement three – Re-Invention (Toccatissima) is fast and virtuosic, a (mostly) two-part invention that sees the basic thematic material re-invented once again. 180 Shift is dedicated, with great affection and respect, to Trio 180: Ann Miller, Nina Flyer, and Sonia Leong.

Small Ensemble Cello,Harpsichord,Violin - Digital Download SKU: A0.890771 Composed by Tomaso Giovanni Albinoni. Arranged by Sneakwood Editions. Baroque,Classical. Score and parts. 8 pages. Sneakwood Editions #4782289. Published by Sneakwood Editions (A0.890771). While in Venice, Pisendel met another of the great Italian composers of the time, Tomaso Albinoni. Albinoni, too, was captivated by the young virtuoso, to the extent that Pisendel returned to Dresden with three sonatas for violin and continuo copied by the Italian master himself. But, although we can assume that all three sonatas were dedicated in some way to Pisendel, it is the Sonata for violin and continuo in B flat Major that bears a special dedication on its frontispiece: Sonata a Violino solo di me Tomaso Albinoni Composta p[er] il Sig:[re] Pisendel. And not only this dedication but also certain musical aspects lead us to believe that the sonata in question may have been written specifically for Pisendel. The sonata goes beyond Albinoni’s usual technical requirements, exploring the upper register of the violin in a way that appears only rarely in other sonatas by this Italian. And, in the second movement, marked Allegro, we find an unusual and virtuoso use of triple stops in a fast semi-quaver rhythm. This singular effect is used by Albinoni in only one other work, the Concerto for violin and strings in C Major Co2, although with a strange and interesting nuance: of the versions of the concerto that remain we find this technique only in a manuscript version in Dresden, the version that Pisendel brought back from Italy in 1717 together with the sonata. Other versions of the concerto, such as the one published by Roger around 1717, or other manuscript versions do not contain the triple-stop passages. This suggests that they may be a personal touch added by Albinoni in recognition of Pisendel’s remarkable performing skills.

Instrumental Duet Instrumental Duet - Level 3 - Digital Download SKU: A0.785004 Composed by Irish Traditional. Arranged by Dorothy van Joolen Barth. Folk,Holiday,Multicultural,Standards,Wedding,World. Score and parts. 5 pages. Dorothy van Joolen Barth #25731. Published by Dorothy van Joolen Barth (A0.785004). Irish music cast its spell early on in the many years I have performed as part of a duo of violin and recorder, so it was inevitable that I would be drawn to create new arrangements for this intimate combination of instruments. Bridget contains three traditional tunes selected from O’Neill’s Music of Ireland and arranged as duos by Dorothy van Joolen Barth. These three tunes are part of a larger anthology titled Maidens of Melody Volume Two, available separately as a download for those who would prefer to have the complete book. As an audio sample, Bridget McRory is provided here. These arrangements can be played on recorder and violin (which is how we play them), flute and violin, or two violins. If the upper part is played on recorder, the recorder player may switch between soprano, alto, and tenor recorders in accordance with the range and mood of each piece. We generally prefer the soprano recorder on the faster reels, jigs, and hornpipes and the tenor recorder (or sometimes the alto recorder) on the more lyrical pieces. In performing this music, we often devise new ornaments, in keeping with Celtic tradition where no two performances of a piece are ever identical. You will likewise add your own meaning to this evocative music. These pieces are delightful perform for Celtic festivals, St. Patrick's Day celebration, weddings, birthdays, and other theme events. May this music provide both player and listener with much enjoyment. Manuscript revised August 2015.

Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1281185 By Kevin Longley. By Kevin Longley. Arranged by Kevin Longley. Christian,Easter,Lent,Praise & Worship,Sacred. Score. 9 pages. Kevin Longley #872527. Published by Kevin Longley (A0.1281185). He Will Lead Me Home (choral church anthem composed in 2023)The InspirationA few Easter seasons ago, during one of our Tuesday Choir rehearsals, we were preparing for “Good Shepherd Sunday�. Diane our Choir director commented “there are very few Good Shepherd pieces to choose from�. One of our sopranos replied “Let's write our own�. I made note of it and this past year finally found the time and inspiration to give it a try. I did my usual research on the subject matter and then found a drawing of a Shepherd standing at the top of a hill with his sheep lined up behind him. Leaning on his staff the Shepherd was contemplating the safest route home. Upon his decision he looked back and called to his sheep. The MusicThe music begins with a piano introduction depicting the Shepherd standing at the top of the hill contemplating the safest route home, as noted earlier. Stately in nature it features a simple melodic idea, played by the right hand, which is then answered by a series of majestic chords. This “back and forth� continues until it reaches its climax at a D flat major chord against a slur from a high G to F. At this point we hear what will be a reoccurring chordal theme of C major to F major and later C minor to F major. The accompaniment begins, now in three quarter time signifying the sheep beginning to move in response to the shepherds call. The verse melody is drawn from the opening three notes of the introduction but with a different rhythm and repeats it self with underlying harmonic changes. The melody and chord structure is somewhat impressionistic in nature. Lyrically a contrast is drawn between how the Shepherd (Jesus) provides for his sheep (followers) and how God provides for the “sheep� (animals) through nature. As the verse comes to an end we are lead to the realization that “the shepherd is the Lord our King, the Good Shepherd King�. The refrain begins with the tenor continuing to solo on the main melody. �He Will Lead Home� is realized and proclaimed! A soprano descant is added for contrast. Harmonically the music makes use of the various minor key options, “melodic, harmonic and natural�. The refrain concludes proclaiming “The Good Shepherds the Way He's our Life!�. The second verse shadows the thought pattern of verse one leading to the refrain once more but this time a bridge is introduced to add drama with the piano playing a significant role. A return to the refrain is varied with the tenor singing a portion of it against softly played chords; but then resumes its rhythmic drive to its ultimate conclusion by repeating “the Good Shepherds the Way He's our Life!�.Program NotesVoicing can be varied based on what types of singers are available. For example this could be sung by 2 tenors with one singing the descant down an octave. Finally as noted in the score, the intro is optional though I prefer it be played; the shepherd contemplating a safe route is important in the music with its contrast to the verse music and important in our life of faith. 

Instrumental Duet Flute,Instrumental Duet,Recorder - Level 3 - Digital Download SKU: A0.596499 Composed by Juan María Solare. 20th Century,Contemporary,Standards,World. Score and parts. 9 pages. Juan Maria Solare #3213415. Published by Juan Maria Solare (A0.596499). Tagoriana  three pieces for recorder (or flute, or any melodic instrument) December 2016 - February 2017 I - Kailash, the witty cashier (2:45) II - We read the world wrong and say that it deceives us (3:15) III - Friendship is like fluorescence (1:20) Total Duration: 7:20   The titles are references to the life and writings of Rabindranath Tagore (1861-1941) I We had an old cashier, Kailash by name, who was like one of the family. He was a great wit, and would be constantly cracking jokes with everybody, old and young; recently married sons-in-law, new comers into the family circle, being his special butts. There was room for the suspicion that his humour had not deserted him even after death. Once my elders were engaged in an attempt to start a postal service with the other world by means of a planchette. At one of the sittings the pencil scrawled out the name of Kailash. He was asked as to the sort of life one led where he was. Not a bit of it, was the reply. Why should you get so cheap what I had to die to learn? Rabindranath Tagore: My Reminiscences | Chapter 2: Teaching Begins (1912)  II  We read the world wrong and say that it deceives us. Rabindranath Tagore: Stray Birds (1916) III The real friendship is like fluorescence, it shines better when everything has darken. Rabindranath Tagore (source unknown to the composer).Find the teaser of a piccolo version by Cecilia Piehl on YouTube:https://youtu.be/jCKO6WREb38If you prefer a hard copy (on paper) of these three pieces, head for Edition Tre Fontane, Münster (ETF 3085), 2020.https://edition-tre-fontane.de/produkt/solare-juan-maria-1966-tagoriana-etf-3085/#flute #Tagore #piccolo #sheetmusic #LatinAmericanMusic #flutemusic #flauta