Small Ensemble Cello,Clarinet,Piano - Level 5 - Digital Download SKU: A0.976003 Composed by Lior Navok. 20th Century,Contemporary. Score and parts. 57 pages. Lior Navok Music #4716983. Published by Lior Navok Music (A0.976003). LIKE A WHIRLING SAND CLOCKfor Clarinet, Cello and Piano (2006) Duration: 10:30 minutes Instrumentation: Clarinet, Cello and Piano PROGRAM NOTES: The composer writes about his work: While composing Like a Whirling Sand Clock for clarinet, cello and piano I was occupied with the notion of leaking time process which is a micro cosmos of a larger process, best to be described as going back in time.In September 2006, I feel that the world is standing on a pivot point: on one hand, the various religious and political forces insist on rooting themselves deeper and deeper into what they see as the only truth, while in reality such ideas and especially the religious ones are extremely fundamentalist, reactionary and ill-minded. For me, such clashes of ideas and ideals are reminiscences of the dark middle-ages days and the crusades, where people killed people because of blind belief. Yet, in our days, with sophisticated mass destruction tools as developed most efficiently by humanity, one asks himself towards where we are heading and what will bring tomorrow. The feeling of evaporating, leaking time gets stronger and stronger while our era's events remind more and more what history books tells us.While imagining an ever-whirling sand clock that drops its sand grains one by one while the sand pile is collected at the upper tube and not the lower one, (thus indicating a going back in time process), one can imagine visually what I have tried to portrait with sounds.Like a Whirling Sand Clock was generously commissioned in memory of Adele and John Gray for clarinetist Chen Halevi. INFO: Item: Full Score / Set of Parts Edition: 2nd Edition Copyright: Lior Navok Publisher: Lior Navok Music Pages: Score: 33 Parts: 24Ink: Black & White Paper Size:DIN A4 / Letter.

Instrumental Duet Baritone Saxophone,Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.796654 By Coldplay. By Chris Martin, Guy Berryman, Jonny Buckland, and Will Champion. Arranged by Gary D. Belshaw (ASCAP). Rock. Score and parts. 12 pages. DR GARY D BELSHAW #3256937. Published by DR GARY D BELSHAW (A0.796654). 2017 Holiday Contest Entry. What could be more in the holiday spirit than this Coldplay song about someone who can't believe she's gone? It really will help you get into the holiday spirit, celebrating those Christmas lights. Get your Bari on and bring it to any holiday social or civic event, recital, or concert. Explore the whole range of the instrument while making people smile. Good breath control and solid articulation will help folks stay with you.Follow us on Facebook and Twitter. Comments welcome at gary@garydbelshawmusic.com

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.

Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.859665 Composed by Sydney Stevens. Folk,New Age,Pop. 10 pages. Sydney Stevens, Water Music #2959555. Published by Sydney Stevens, Water Music (A0.859665). Contact: sydneystevenspianostudio@gmail.comAlleys: Deeply heartfelt piano/vocal composed by Sydney Stevens (ASCAP). Sheet music is arranged for piano/vocal/chords. From Album: Cycles of Life Theme: Coming into one's own: Alleys,  back roads of our lives they find us.. Mood: Contemplative, soulful. Nurturing one's own strength. Musical Traits: Major key that modulates into a minor interlude. Right hand reflects the vocal line. Performance Time: 5:07 Sydney Stevens music is available on: Pandora, Spotify, iTunes, Amazon, Whisperings Solo Piano Radio, AllMusicMore Links: www.sydneystevenswatermusic.comhttp://www.linkedin.com/in/sydney-stevens-532a113aBIOGRAPHY:Sydney Stevens began writing melodies on the piano before she could reach the pedals. Her earliest memory was watching her mother play classical piano. She began piano lessons at the age of 8, and started composing shortly thereafter.Stevens approaches her compositions as an artist. She paints musical portraits of the things that bring meaning to life: relationship to living things, emotional healing, discovering what matters most and honoring that as best we are able. Stevens' beautiful piano-based music aligns one with their own heart. Although some of her music can be described as New Age, her roots are heavily based in classical and jazz. Her study of classical composition makes her music more complex than some New Age music. Her music has been likened to the impressionistic composers such as Claude Debussy. Sydney's formal training is also reflected in her ability to compose for orchestral instruments. Her latest release, Cycles of Life, was solely recorded and produced by Sydney, programming all of the virtual instruments.Sydney has a great love for jazz. Keith Jarrett was an influence on her with his innovative and improvisational piano recordings and performances. She was particularly impressed with the freedom of style he portrayed in his performances. Bill Evans was something Sydney heard played as a young child. Where her mother was a classical pianist, her father was a jazz pianist. Perhaps that's why some of Sydney’s music can be described as a crossover between classical and jazz--remnants from those early years. Joni Mitchell and Judy Collins were big inspirations for Sydney's songwriting. She was especially drawn to the deeply emotional lyrics in many of their songs.Cycles of Life, the title track from Sydney's current release, was composed for her late step dad. The song is about the cycle of birth and death: Cycles of life go on, yet we carry all that we've known and loved through the ages. Time, another track on Sydney's current release, is a song about how time passes more quickly when we are doing something we cherish. Brian's Song, inspired by the loss of her father-in-law, reflects: All that really matters is the way we fill our heart, and the ways that it has loved. Dawn, a track from Sydney's album Seasons, is a beautiful piano-based instrumental with light string background. It portrays that very peaceful hour as the sun slowly lights up the world -- the hour of dawn.Sydney is a poet. She sees the world through a heart that feels the joy and sorrow of the world and those she meets. Her gift is the ability to transfer that emotion into music. Listening to her music is like taking a journey. She delves into depths of emotion, often taking the listener to places that can be difficult to go without the comfort of a beautiful song to.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1461378 By Pat Metheny. By Pat Metheny. Arranged by Will Corbin. Contemporary,Pop. 25 pages. Will Corbin #1040135. Published by Will Corbin (A0.1461378). My dad heard this song playing as background music for some TV show. He suggested it as a quintet piece (he liked us mostly because we played some of his favorite Dixieland tunes). The result is, well, at least a little bit weird. The original haunting Pat Metheny recording was played on electric sitar, with a high-speed snare drum providing train effect. I wanted to achieve the same thing, so the horns take care of it throughout the piece (with tuba providing it from start to finish). And the song needed a train horn for effect. I wanted to know what chord a train whistle blew, and the Internet told me it was a ninth chord. That's what those weird interruptions are all about.If you need other instrumentation, I'm happy to provide. Contact me at wilcor@aol.com.

Choral Choir,Choral (SATB divisi) - Level 4 - Digital Download SKU: A0.1308788 Composed by Charles Tenet. Arranged by Tobi Crawford. Jazz. 11 pages. Tobi Crawford #898034. Published by Tobi Crawford (A0.1308788). *Purchase 10 copies to perform this piece with your ensemble of any size*Purchase the instrumental pack (bass and drum part) here: https://www.sheetmusicplus.com/en/product/beyond-the-sea-instrumental-pack-only-22605052.htmlThis arrangement came to me over a number of weeks in a very organic way that began with the ostinato piano figure that prevails throughout the piece. I began playing it unattached to any tune and I just liked the way the line descended in the left hand and how I had to find voicings in the right hand that made harmonic sense – like a puzzle. As I was playing around with this puzzle, thoughts of my father were swirling around in my head – I was at the end of a 4 year period of separation from my parents owing to the fact that I’m a Canadian expat living in the US and the borders were closed for a long time because of Covid, and then I had work visa issues and my parents were getting older before my eyes. They were also losing friends to cancer and other ailments and my dad, in particular, had experienced the loss of many close family members and friends during our separation and it was taking a toll. One day I sat down and played the now familiar-to-me ostinato but randomly I started to sing “Beyond the Sea� over it and it fit perfectly. I thought it a happy coincidence. As the days went on I committed to putting my ostinato with Beyond the Sea and the lyrics started to seep into my brain. I have, of course, heard these lyrics many times before, (who hasn’t seen Finding Nemo?) but the lyrics didn’t mean what I thought they meant… They’re NOT about the ocean, they are about my dad!!! Well, kind of… I realized, through careful reflection and by slowing the words down, that the lyrics are talking about a person in heaven who is patiently waiting for their partner to join them. Somewhere beyond the seaShe’s there watching for me…It’s far beyond the starsIt’s near beyond the moon And the lyrics end with them meeting, “We’ll meet beyond the shore, we’ll kiss just like before,� and the song ends with: “and never again I’ll go sailing.� It’s like the big bang went off in my head about why all these thoughts of my dad, and his friends, and this arrangement, and what it all meant suddenly just MADE SENSE and I was able to start formulating a plan. Performance Suggestions: The improvisation solo in the middle should be free of any traditional “scat syllables� and should be more of a lament. Listen to singers like Aubrey Johnson improvise on ballads for inspiration. An idea for that improv section might be to have a male singer start the improv, then a female singer joins (as if together in heaven) then they sing letter F together (warning: will cause tears…). All solo sections do not have to be sung as written – soloists can take liberties with the melody as the spirit moves.

String Quartet String Quartet - Level 5 - Digital Download SKU: A0.845973 By Miley Cyrus. By Henry Walter, Lukasz Gottwald, Maureen McDonald, Sacha Skarbek, and Stephan Richard Moccio. Arranged by Kyle Pudenz. Contemporary,Pop. Score and parts. 34 pages. ViolinVagabond Music #5310843. Published by ViolinVagabond Music (A0.845973). Why settle for a bland transcription of Hannah Montana when you can have an action-packed, thrill-filled arrangement that's ALMOST as crazy as Miley Cyrus!? (almost)You've heard the song. You've seen the video. Whether or not you're a Miley super fan, you get the hype and that's why you're here. So take that hype to the next level with a chart that will make your audience go what on earth just happened? the same way Miley does on at least a bi-annual basis. By the way, I'll tell you what just happened: your quartet just came in like a wrecking ball, and smashed every archaic stereotype about classical string players to PIECES!!Gone are the days of strings not being able to feel the groove. Silenced are the cynics who once called us boring and one-dimensional. A new era is upon us, where violins, violas, & cellos can get up, get out, and rock the faces off of the proletariat right alongside our guitar slinging, drumstick twirling brethren! And this chart is just what you need to usher in this oh so bright future for all who rosin the bow:Right from the start, this arrangement takes a unique spin on Miley's pop smash, with a lopsided groove that will have your listeners searching frantically for a downbeat. Their urges will finally be satisfied when the melody takes us back to that oh-so-familiar feeling of 4/4 security... but don't get too comfortable, because when that chorus drops you'd better hold on to your hats. That's right, the train is leaving the station for double-time town! Along this musical journey, you may also encounter glimpses of reggae, jazz, & bluegrass, culminating in a race to the finish that will wre-e-eck any musician who didn't come ready to hang. Oh, and just for funsies I threw in that classic showbiz' moment where the cellist steals the melody, so feel free to ham that up as much as possible, cello players!This arrangement also makes use of modern extended string techniques in order to create rhythmic grooves without the need for additional instruments, including chopping and strum bowing. If you are unfamiliar with these concepts, various resources exist all over the internet to aid you in your quest towards having better time. I recommend this series, for example: https://youtu.be/kfX3kxjC93sPerformance time - 4:20... and if that doesn't make Miley Cyrus proud I don't know what will.Questions? Feel free to contact me via my website, www.kylepudenz.com/ or on the 'Insta @theviolinvagabond

Piano,Tenor Trombone - Level 5 - Digital Download SKU: A0.1405186 Composed by Neal Harnly. 20th Century. Score and part. 20 pages. Gordon Cherry #988231. Published by Gordon Cherry (A0.1405186). Chorale Fantasie for Trombone and Piano by Neal Harnly composed in 1999 borrows from two 19th Century hymns, Jesus, Thy Boundless Love to Me and  I Love Thee.Here is what the composer says about his beautiful work:In a programmatic sense, although not literally intended, the piece attempts to express God's love for us and the joy and freedom it inspires in us, and then reflects with awe upon the love, returning again finally to a joyous restatement of its expression. The writing for trombone is virtuosic, and covers much of the spectrum of the instrument in its ability to 'sing and dance', and in its range and technique.This work, written for a young James Markey is about 11 1/2 minutes in length is appropriate for advanced performers.Chorale Fantasie is available for sale on streaming services and also on James Markey's wonderful CD Offroad.

Guitar,Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.835161 Composed by Cody Weinmann. Christian,Gospel,Praise & Worship,Sacred. Score. 6 pages. Cody Weinmann #6121269. Published by Cody Weinmann (A0.835161). About Temples of The LordThe thought behind Temples of the Lord was tocreate a song that would ultimately bring peopleto the only salvation of Jesus Christ and what he didon the cross for all of our sins, past, present, and future.There is a scripture in the bible talking about howwe are temples of the Lord. The song talks abouthow we long to do what is in the mind of Christ, butour flesh wars against the spirit and what we would,we do not do (Romans 7)There is also an aura of how much is it going to takefor us to get on our knees and get back to God. Weare all guilty of making these empty cisterns that can hold no water, and until we are cleared and cleaned of all of these so that God is the only being we have left, it will be a continual fight this side of heaven.About the Composer:Cody Weinmann is a composer and songwriter of many differentgenres from writing lead sheets to pieces for band, choir, and orchestra. One cannot put him in a box. He continues towrite music especially in the Christian worship music genres tobring the Gospel to those in the world who need it.He is a lover of all different types of sound textures and color,a pianist, and a writer of all things beautiful.In the midst of the current pandemic, the lead sheet could be really accessible for those who play piano,guitar, or different solo instruments and sing. This way,one could have an intimate time of worship at home.

Double Bass,Piano,String Bass - Level 4 - Digital Download SKU: A0.796711 By Coldplay. By Chris Martin, Guy Berryman, Jonny Buckland, and Will Champion. Arranged by Gary D. Belshaw (ASCAP). Rock. Score and part. 14 pages. DR GARY D BELSHAW #3663733. Published by DR GARY D BELSHAW (A0.796711). 2018 Holiday Contest Entry.This arrangement for Solo Contrabass is in the original key of G Major.Go listen to the original Coldplay song. Do you hear the grittiness, the depth of this rock singer's low voice in the opening lyrics? This song just screams to be played on your instrument. And what could be more in the holiday spirit than this Coldplay song about someone who can't believe she's gone? Get yourself into the spirit, celebrating those Christmas lights. Bring this music to any holiday social or civic event, recital, or concert. Explore the whole range of your instrument, and of the season. Make the most of your own sense of good phrasing and articulation. Use tempo markings freely and exaggerate any and all elements so as to increase expressiveness. The lyrics are included to help you with communicating the song's intent.Follow us on Twitter. Like this song on our Facebook page. Your reviews here in Sheet Music Plus are also incredibly valuable to us.

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.802647 By Bee Gees. By Barry Gibb, Maurice Gibb, and Robin Gibb. Arranged by Peet du Toit. Dance,Disco. Score and parts. 23 pages. Peet du Toit #6197563. Published by Peet du Toit (A0.802647). I've Gotta Get a Message to You is a song by the Bee Gees. Released as a single on 7 September 1968, it was their second number-one single on the UK Singles Chart and their first US Top 10 hit.The song is about a man who, awaiting his execution in the electric chair, begs the prison chaplain to pass a final message on to his wife. Robin Gibb, who wrote the lyrics, said that the man's crime was the murder of his wife's lover, though the lyrics do not explicitly allude to the identity of the victim. Robin said, This is about a prisoner on Death Row who only has a few hours to live. He wants the prison chaplain to pass on a final message to his wife. There's a certain urgency about it. Myself and Barry wrote it. It's a bit like writing a script. Sometimes you can sit there for three hours with your guitar and nothing will happen. Then in the last ten minutes something will spark. The song was written with Percy Sledge in mind to record it. Sledge did record it in February 1970 but Atlantic did not issue his version in the United States at the time.Barry recalled, In those days, the lyrics were almost pretty well done on the spot. I don't remember the fundamentals on how the lyrics were formed, except that we were writing about a guy on death row. That was it.Robin adds:It was like acting, you see, we said, let's pretend that somebody, his life is on the line, somebody's going to the chair. What would be going through their mind? Let's not make it doom and gloom but sort of an appeal to the person he loves. Because right now that's all he cares about. Regardless of whether he's done a bad thing, he is a human being, and he's sending out this last message. There's someone out there whom he loves. It's a torch song, but within a very sort of theatrical sense. Not sort of abstract, but definitely somebody in a very bad situation whose life is going to end. What would they be saying, you know? This is it: 'Gotta get a message to you, hold on.Revive this hit on your brass instruments and enjoy!

Piano and voice (solo and SATB chorus) - Digital Download SKU: LV.4798 Composed by Thomas P. Westendorf. Courtship, Love. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.4798). If We Should Never Meet Again. Song and Chorus. Words and Music by Thos. P. Westendorf. Published 1881 by Dale & Co., No. 185 J Street in Sacramento, Cal. Composition of strophic with chorus with piano and voice (solo and satb chorus) instrumentation. Subject headings for this piece include Courtship, Love. First line reads What if we should never, never meet again, and this should be to us our last good-bye.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.

Organ - difficult - Digital Download SKU: S9.Q6228 Poème symphonique. Transcription by Jean Guillou. Composed by Franz Liszt. Arranged by Jean Guillou. This edition: Sheet music. Organ - Symphonic Poem - transcription. Downloadable. Duration 14' 30. Schott Music - Digital #Q6228. Published by Schott Music - Digital (S9.Q6228). German • English • French.Orpheus is one of 12 symphonic poems composed by Franz Liszt between 1848 and 1858. Liszt regarded these compositions as representing a higher form of musical creation. Their genesis in what he described as a poetic idea allowed him to favour freedom of expression over the constraints of form. The score of 'Orpheus' was first performed on 16 February 1854, under the baton of the composer, as the curtain rose for a production of Gluck's opera 'Orpheus' in Weimar. It had been inspired in particular by the contemplation in the Louvre museum in Paris of an Etruscan vase despicting Orpheus as a symbol of beauty and civilisation, mitigating the brutality of the world through the power of his art. This symphonic poem was first transcribed for organ in about 1860 by Alexander Wilhelm Gottschalk (1827-1908), one of Liszt's pupils. It appears that Liszt was moved to make radical modifications to that version, in spite of which it still remains unsatisfactory. It does, however, give us the benefit of proving that Liszt, who also transcribed the work for piano duet, was not against the idea in itself of a transcription for organ. Jean Guillou's transcription is more than a simple adaptation. As far as Romantic music is concerned, he is responsible for finding appropriate equivalents to the dramatic function of instrumentation to create an atmosphere which comes as close to that of the original composition as possible, to enrich the contrapuntal texture and to contribute to the simulation of the orchestral sound.

Full Orchestra - Level 4 - Digital Download SKU: A0.1393788 By Rita Coolidge. By John Barry and Tim Rice. Arranged by John Langley for Studio Orchestrations. Contemporary,Film/TV,Pop,Standards. 103 pages. Www.studio-orchestrations.com #977260. Published by www.studio-orchestrations.com (A0.1393788). IMPORTANT:  Please see note below about the key of this versionThis classic song by John Barry and Tim Rice originally sung by Rita Coolidge comes from Roger Moore's last Bond appearance in Octopussy. This is a film very much of its time, many dry double-entendre from our leading man for sure which might raise a Moore-like eyebrow these days.  Likewise the song here is perhaps one of the lesser played James Bond title tracks too but it is a charming departure from some of the higher octane anthems like Thunderball, Live and let die or even Goldfinger and returns us to the gentler musical era / genre of From Russia with love, For your eyes only and You only live twice.So why not program this in your film night for singer and orchestra.  This score and parts are a semitone/half-step higher (starting in F major) which might suit some female performers slightly better for range.   The original Rita Coolidge performancxe key (starting in E major) is dusky and mellow (ie. quite low) but is also available on this website.INSTRUMENTATION:2 Flutes2 Oboes2 Clarinets[Optional 2nd clarinet dbl. Alto Saxophone SOLO]Alto Saxophone (SOLO)2 Bassoons4 French Horns3 TrombonesTubaTimpaniPercussion [Susp.Cym. / Glock]HarpPianoElectric Guitar (Lead)Acoustic Guitar (Rhythm)[Optional]Bass GuitarDrum KitString SectionEnjoy!If you like this arrangement then other dramatic and very striking orchestrations exist from arranger John Langley for the following pieces:BarcelonaCome what mayDiamonds are foreverLet it snow, let it snow, let it snowMary did you knowMillion DreamsOnce upon a DecemberSummer wineTango de RoxanneWhen you believe

Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1140575 By Elton John. By Bernie Taupin and Elton John. Arranged by Jacob A Smith. 20th Century,Blues,Folk,Rock. Score. 3 pages. Jacob A Smith #740813. Published by Jacob A Smith (A0.1140575). Border Song is a song by Elton John with music by John and lyrics by Bernie Taupin.[2] The song initially appeared on the 1970 album Elton John, and was released in the spring of 1970 as the LP's first single. After failing to chart in the UK, it was released in North America a few months later. It met with more success there, especially in Canada, where it peaked at No. 34.[3] The appearance of Border Song on the Canadian charts was John's first chart appearance in any country. Border Song was also John's first song to chart in the United States, peaking at No. 92 on the Billboard Hot 100 and No. 69 on the Cash Box Top 100[4] in October 1970. A cover by soul icon Aretha Franklin (with Holy Moses following the title in parentheses to reflect the repeated phrase in the song) fared better reaching No. 37 on the Billboard Hot 100 and No. 23 in the Cash Box Top 100 in December 1970.[5] It was included as the closing track of Aretha's 1972 Young, Gifted and Black album as well. The song's melody is similar to that of a spiritual.[7] A choir sings during an instrumental break led by John's piano. John has said that the song is about the alienation Taupin felt in and about London at the time (Brand of people who ain't my kind), and his desire to visit home as often as he could. John himself wrote and added the last verse, which departs from the theme of alienation and speaks against bigotry: Holy Moses, let us live in peace/let us strive to find a way to make all hatred cease/there's a man over there. What's his colour I don't care/he's my brother let us live in peace..