Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1401614 Composed by Joseph Lamb. Arranged by F. Leslie Smith. 20th Century,Classical,Historic,Ragtime. 32 pages. Sweetwater Brass Press #984793. Published by Sweetwater Brass Press (A0.1401614). Ragtime was originally and primarily piano music.  The Library of Congress traces the origin and wellspring of ragtime to St. Louis, Missouri.  The Britannica website explains, “Ragtime evolved in the playing of honky-tonk pianists along the Mississippi and Missouri rivers in the last decades of the 19th century. It was influenced by minstrel-show songs, African American banjo styles, and syncopated (off-beat) dance rhythms of the cakewalk, and also elements of European music.�     But it wasn’t until the mid-1890s, when music publishers started printing ragtime scores, making the music available to the public at large, that ragtime’s popularity began to soar.  By 1900 ragtime was the popular music.  It stayed that way until about 1917 when the rise of jazz began to overtake it.  By 1920, ragtime was nearly forgotten.     Thirty years later, a ragtime revival began.  And one Patricia Lamb-Conn found out that her father, Joseph F. Lamb, was a well-known composer of ragtime.  In fact, the “Big Three� composers of classical ragtime are considered to be Scott Joplin, James Scott and the only non-African American, Joseph Lamb.     Lamb was born in 1887 in New Jersey, taught himself to play piano and was very much influenced by Joplin’s early ragtime publications.  From there, Lamb went on to develop into a master of classic ragtime.     One of Lamb’s most popular works was a 1916 composition he titled “Patricia Rag.� (The title apparently had nothing to do with his daughter, who was born in 1924.)  It consists of four themes in five sections, with the first theme repeated after sections 1 and 2.  Lamb pitched the opening in E-flat Major, changing to A-flat Major at the Trio.       This brass quintet arrangement, completed in 2024, consists of 150 measures, approximately five minutes, ten seconds in length.  It retains the basic structure of the original piano score but modifies the pitches to B-flat Major and E-flat Major, respectively, to accommodate the normal playing range of the brass instruments.  Possible exceptions for some players include:  (1) Trumpet 1 plays its A-above-the-staff a number of times and its B above-the-staff once; (2) Trombone plays several E above-the-staff notes; (3) Tuba plays several way-below-the-staff F notes and one high G note. Throughout the arrangement, the original melody is maintained and featured, but in some sections the background and harmony are altered to feature one or more of the five instruments.  In the Trio, the sections designated by rehearsal marks F and G are slowed and treated as a serenade; the original tempo is restored at H.  In performing this arrangement, players should pay particular attention to dynamics.  Additionally, because of the nature of ragtime, this piece may require more-than-usual practice and rehearsal.     The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge.  He would like to receive your suggestions, comments, corrections and criticisms.  Contact him at lessmith61@bellsouth.net.  For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box.

Trumpet Solo - Level 4 - Digital Download SKU: A0.876677 Composed by Dosia McKay. Contemporary. Individual part. 5 pages. Gavia Music #6325337. Published by Gavia Music (A0.876677). I originally composed Ping-Pong for tuba solo. The following is a trumpet transcription. Although the program note relates to the tuba version, trumpet players might find the explanation of the genesis of the music helpful.When I first spoke with Sande MacMorran, the tuba player for whom I composed the piece, we discussed the technicalities of the instrument; its optimal range, timbre, and articulation. Sande mentioned, in passing, that the rhythm of swing music is a natural fit for the instrument and even sang a few lines to give examples.In the following days, when I began to plan the new composition, I was surprised that the idea of playing ping-pong unexpectedly took hold of my mind and I couldn’t shake it off. At first, it seemed random and unrelated, but then, as I thought about the rhythmic patterns of the game, it all became clear.In ping-pong, the paddle hits the ball and then the ball hits the table in a pattern reminiscent of the rhythm of swing. While beginners tend to play slower, in triplets, the professionals, much faster, with the table note dotted or even double-dotted. Once I realized what my subconscious was trying to tell me, I listened to (not merely watched) several videos of ping-pong matches and discovered a wealth of entertaining rhythmic patterns. Thus the idea for this miniature tuba piece was born.While the tuba may seem a clumsy and awkward instrument, it is actually quite agile and flexible. It can perform many challenging melodic figures or quick jumps between registers, and it can certainly play ping-pong.Total duration: 1'25, for advanced players.

Large Ensemble Bassoon,Clarinet,Double Bass,Horn,Oboe,Piccolo - Level 4 - Digital Download SKU: A0.1038136 Composed by Bela Bartok. Arranged by Ray Thompson. 20th Century,Classical,Folk. Score and parts. 46 pages. RayThompsonMusic #643066. Published by RayThompsonMusic (A0.1038136). The complete set arranged wind dectet and bass Romanian Folk Dances Sz. 56, BB 68 is a suite of six short piano pieces composed by Béla Bartók in 1915. He later orchestrated it for small ensemble in 1917 as Sz. 68, BB 76. It is based on seven Romanian tunes from Transylvania, originally played on fiddle or shepherd's flute. The original name for the piece was titled Romanian Folk Dances from Hungary but was later changed by Bartók when Transylvania became part of Romania in 1920. It is nowadays available in the 1971 edition which is written with key signatures although Bartók rarely ever used key signatures. This set of dances consists of six movements and, according to the composer, it should take four minutes and three seconds to perform, but most professional pianists take up to five minutes. The list of the movements is as follows (with the original Hungarian title listed first, the most commonly known Romanian title second, and the English translation in parentheses): Bot tánc / Jocul cu bâtă (Stick Dance)The melody of the first movement, according to Bartók, came from the Mezőszabad (present-day Voiniceni) village that was part of Mezőcsávás (present-day Ceuașu de Câmpie) commune which was located in the Maros-Tordaadministrative county within Transylvania, and he first heard it when two gypsy violinists were playing it. Brâul (Sash Dance)The second movement is a typical dance from Romania called Brâul, for which traditionally a sash or a waistband was used. This melody came from Egres (present-day Igriș), in the Banat region. Topogó / Pe loc (In One Spot)The third dance comes also from Egres (Igriș), but its theme is much darker and its melody recreates Middle Eastern instruments, such as the flute.[4] Bucsumí tánc / Buciumeana (Dance from Bucsum)The fourth dance came from Bucsony, Alsó-Fehér County (today Bucium, Alba county in Romania) Román polka / Poarga Românească (Romanian Polka)The fifth dance is an old Romanian dance similar to the Polka and comes from Belényes (present-day Beiuş, in Bihor county), near the border between Hungary and Romania. Aprózó / Mărunțel (Fast Dance)The sixth and last dance is formed by two different melodies: the first one comes from Belényes (present-day Beiuș) and the second one comes from the then named Nyagra (present-day Neagra) village within the Palotailva (present-day Lunca Bradului) commune. Both on the orchestral version and on the original piano version, the final two dances are performed attacca-without a break between movements.

Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.1244605 By Amy Winehouse. By Abigail Harding, Boyan Chowdhury, David McCabe, Russell Pritchard, and Sean Payne. Arranged by Ben Swan. Pop,Rock,Soul. Octavo. 22 pages. Ben Swan #839558. Published by Ben Swan (A0.1244605). It would be unwise to question the popularity of this song. I remember hearing it all over the radio when The Zutons released it in 2006. Little did I (or they) know how huge it would become just a year later when Mark Ronson teamed up with British soul superwoman Amy Whinehouse and recorded it for his collaborative covers album Version. This SATB arrangement is an easy win, with simple repetitive choruses and a good dollop of unison to keep the choir happy. It's not without its quirks though - the third verse includes a few scrunchy oohs and aahs and the harmonies have stayed true to the song's jazz/soul influences. Piano accompaniment included.

Piano Solo - Level 4 - Digital Download SKU: A0.862657 Composed by Sergei Rachmaninoff. Arranged by Michael Bomier. Concert,Romantic Period,Standards. Score. 5 pages. Michael Butkus-Bomier #3601985. Published by Michael Butkus-Bomier (A0.862657). The Prelude in C# minor was the bane of Rachmaninoff's existence as a performer. Audiences could NOT get enough of it, and he could not bear to play it one more time! Such is Fame and Success. Well, we Normal Humans have had to look at the traditional setting of it, in two grand staves, with enough double-accidentals to blind a scribe, and try to emulate The Master from that pirate's treasure map. No longer. Here is a single-grand staff setting, with only the most minor modifications to accommodate the average hand, and spellings that show the true nature of the chords. The single best aspect of our setting here is the Total Elimination of the crossed-hand octaves throughout. When I realized these were only three or four-note triads, and not a pile of interlocking harmonies, I determined to make things clearer, for myself, and other players. The low notes all correspond to Rachmaninoff's bassline, except for one passage near the end. Only TWO octave doublings have been removed to make a smaller leap from the former lower grand staff to the upper. When I was a young student, this sort of music was baffling to my eyes, but not my ears. Now we can all see it and play it for what it is, an early masterwork, based on S.R.'s training in harmony from the Moscow Conservatory. A note can be the root, 3rd, 5th, 7th, and even 9th of some chord. They are all on display here, with a nice summation at the end, in quietude. MBB.

Piano Solo - Level 2 - Digital Download SKU: A0.1282697 By Stan Getz & Astrud Gilberto. By Antonio Carlos Jobim, Norman Gimbel, and Vinicius De Moraes. Arranged by Thomas Gunther. Jazz,Latin,Standards. Score. 2 pages. Thomas Gunther Music Productions #873912. Published by Thomas Gunther Music Productions (A0.1282697). This is my (Thomas Gunther) Piano Solo Arrangement of the famous Brazilian song The Girl From Ipanema by Antonio Carlos Jobim.The Girl From Ipanema is such a beautiful song that I thought it would be nice to write a piano solo arrangement for it, so that non-jazz pianists can play it too. This said, I am convinced that many jazz musicians will find this arrangement interesting and maybe even challenging, when performed exactly as written. It could also serve them as a blueprint for how to arrange samba tunes for solo piano.If there is one song that comes to mind when thinking about Brazilian music, it is probably this song. For most Jazz musicians it is the ultimate bossa nova standard.I truly hope you enjoy this arrangement! And should you be a piano teacher, this arrangement is a great way to introduce your students to Brazilian music, speaking from my own experience.

Trombone quartet - Digital Download SKU: IZ.IMF178 Composed by Willard Zirk. Score and Parts. 23 pages. Imagine Music - Digital #IMF178. Published by Imagine Music - Digital (IZ.IMF178). 9 x 12 in inches.This set of variations on Ein Feste Burg was originally written for a trombone quartet. It was commissioned by the students of my colleague and friend, trombone professor, Donald Babcock. They are Daniel Larson, Manuel Smith, Jack Porath, and Kyle Wickham. These fine trombonists gave the premiere of 95@500 during the 2017 EMU Music Now Fest, February 16, 2017. When I received the request to write something for them, I took the opportunity to fulfill my wish to write a piece to commemorate the 500th anniversary of the beginning of the Reformation. The title refers to Martin Luther's nailing 95 theses on the door of the Castle Church in Wittenberg, October 31, 1517. This act began a revolution in the Christian church that had great consequences. One major change was the creation of more simple music that could be sung by the congregation instead of a trained choir. Hence, the Lutheran chorale was born. It is not known exactly when Martin Luther wrote Ein feste Burg ist unser Gott, but it is thought to have been written between 1527-1529. A copy exists with his signature that can be viewed on the Internet. Luther wrote the melody with no harmony, but many composers have since harmonized it. About two hundred years after Ein feste Burg was written, Bach used it in his Chorale Cantata, BWV 80, to be sung on Reformation Day. Luther had set it with irregular rhythms and that gave rise to the unique rhythms in this set of variations. However, the last variation follows the well-known regular meter.

Jazz Ensemble Jazz Ensemble - Level 5 - Digital Download SKU: A0.1242133 Composed by George Willson. 21st Century,Blues,Contest,Festival,Jazz. Score and Parts. 72 pages. George Willson #837490. Published by George Willson (A0.1242133). The Center Of The Universe is a a landmark in downtown Tulsa that is a bit of broken pavement on a bridge across some railroad tracks. Where its name comes from is the unusual acoustic properties that one experiences when standing on top of that broken pavement. Those outside the circle can't hear what the person is saying, and when speaking, the person in the circle can hear their voice echoed back to them. Scientifically, it is said to be its unique position in relation to the nearby buildings of downtown, but even so, it has become a strange tourist attraction. To exemplify these strange acoustic properties, this big band piece is written in an unusual time signature for the blues: 5/4. That, in itself, makes it inherently difficult to play since most jazz musicians are tuned into 4/4 with the occasional 3/4 or 12/8 thrown in for variety. Yes, others have done it, but this adds another entry to that very short list of big bands tunes in 5 to make us think of that weird spot downtown where sound just doesn't behave the way it seems like it should.George Willson has been an performer, composer, and conductor for thirty years in various mediums and ensembles.MP3 rendition is an extract of the composition program.

Brass Quintet - Level 4 - Digital Download SKU: A0.1489487 Composed by Dr. Daniel N. Thrower. 21st Century,Chamber,Classical,Historic,Multicultural,World. 28 pages. Https://gildedmusicpress.com/ #1066350. Published by https://gildedmusicpress.com/ (A0.1489487). One of my last assignments as an Air Force musician before being stationed in Japan was to perform music in support of the 50th commemoration of what has become known in America as “Vietnam Memorial Day.”  It is observed on March 29 every year, the date when the last U.S. troops withdrew from Vietnam in 1973.  After the memorable ceremony in 2023, I lingered to talk with those mature veterans and to hear some of their experiences.  It was a strange feeling when I told them that my first assignment at my new duty station in Japan would be a series of cultural exchange performances in Vietnam.  What a somber generational bridge.I was only in Japan for a matter of days, including some intense rehearsals, before Pacific Brass (the brass quintet from the U.S. Air Force Band of the Pacific) packed up and headed to Hanoi to start our brief musical outreach in three cities.  My reflections were sobering as I contrasted my military service in Vietnam with the veterans whom I had just honored three months prior.  During some off-duty time, all five of the Pacific Brass military musicians found our way to the well-known Hòa Ló Prison, infamously known as the “Hanoi Hilton.”  Indeed, how vastly different was my brief military service in Vietnam!To the Vietnamese people, the “American War,” as they call it, is ancient history.  They are extremely forward-thinking, putting those dark years far from them, looking to the bright future that is theirs.  What an educational bridge of paradigms.  Although it was important for us as U.S. Servicemembers to witness the Hòa Ló Prison firsthand, our lot was to experience the beautiful present-day Vietnam with its rich culture of food, street shops, temples, dance, music, and other wonders that awed us all—including gongs!Our trombone player purchased a gong in a shop that sold little else besides gongs of all sizes and pitches.  That struck me as quintessentially Vietnamese, and the sights and sounds of that modest shop lingered in my imagination.  As we absorbed the extraordinary majesty of the Temple of Literature in Hanoi, ideas for this musical composition started to formulate as a bridge connecting American musical culture with Vietnamese traditional gongs.  For practicality in both notation and live performance, I scored the consort of 18 glorious “gongs” in my head for orchestral tubular bells.  It is a passionate hope that someday in a video presentation, a masterful cultural bridge of the two diverse countries will be crafted.  Better yet, what an experience it would be to have a legitimate gong consort perform live with Pacific Brass!The year of our visit, as we were coached many times by the Embassy’s Attaché, was a milestone landmark between the two nations, worthy of praise and celebration: the ten-year anniversary of the U.S.-Vietnam Comprehensive Partnership, signed by Presidents Obama and Sang in July 2013.  This bilateral relationship has bridged both nations’ commitment to economic engagement, cultural exchange, tourism, education, and human rights.  This composition is in celebration of this Comprehensive Partnership and a gift to the wonderful people of Vietnam.  May this music contribute to a continuing growth of positive relations bridging the two nations.

C Instrument - Level 4 - Digital Download SKU: A0.1415672 By Kenny Rogers. By Don Schlitz. Arranged by John Fries. 20th Century,Country,Pop,Standards. Lead Sheet / Fake Book. 2 pages. John Fries #997392. Published by John Fries (A0.1415672). TYPE JOHN FRIES IN THE SEARCH BAR TO SEE ALL I HAVE TO OFFER. Thanks, John. The Gambler is a song written by Don Schlitz and recorded by several artists, most famously by American country singer Kenny Rogers. Schlitz wrote the song in 1976 when he was 23 years old. It took two years of shopping the song around Nashville before Bobby Bare recorded it on his album Bare at the urging of Shel Silverstein. Bare's version did not catch on and was never released as a single, so Schlitz recorded it himself, but that version failed to chart higher than No. 65. Other musicians took notice and recorded the song in 1978, including Johnny Cash, who put it on his album Gone Girl. It was Rogers, however, who made the song a mainstream success. His version was a No. 1 country hit, and made its way to the pop charts at a time when country songs rarely crossed over. It was released in November 1978 as the title track from his album The Gambler, and won him the Grammy Award for Best Male Country Vocal Performance in 1980.

Piano Solo - Level 5 - Digital Download SKU: A0.1425804 By Damien Gauci. By Damien Gauci. Contemporary,New Age. Score. 10 pages. Damien Gauci #1006564. Published by Damien Gauci (A0.1425804). I rarely start by writing a composition with the name in mind but it’s something that I try to do more often and it’s something that I for this piece. When I came up with the name ‘Bloom’ I really wanted to write a piece or at least an opening section that sounded like that word, where the music blooms out like a flower. The first and last section are the same and are just a chordal pattern that rises up from the left hand into the right hand. This kind of writing is simple but quite effective as it slowly evolves over time as the chords change and allows for reflective mood.The middle section does go in a bit of a different direction but I still wanted to infuse elements from the first section into this section as well as use the gesture of ‘Bloom’ in some way. This sections still evolves in it’s own way but I would say I wrote it in a more through-composed style with different little themes that come and go. I hope you are able to image the music ‘Bloom’ when you listen to it.

Concert Band - Level 4 - Digital Download SKU: A0.1239681 Composed by David M. Stewart. March. 15 pages. DMStewart Music #835072. Published by DMStewart Music (A0.1239681). This piece, The Palatka Port March, is intended to depict a little of the sense of life in the early years of Floridaon the St. John’s River. It was once a target for ships venturing out to find the New World. It has been used to ferrybarges and livestock. Some simply used it for sailing and transportation throughout the years, and some to catch fishto provide for themselves. The life on this river has been diverse, yet fulfilling over the years and will continue to beso in the future. The melodies in this piece were taken from the shape of the St. Johns River from its upper point in Jacksonville, to where our part of the story ends in Palatka. Notice the falling and rising 8th note runs at the beginning, thisrepresents the rise and the fall of the river as it enters Jacksonville from the Atlantic Ocean. The first strain is alinear, yet very regal melody where the heavy beats follow the contour of the river as it runs south. Here you canpicture the ships coming from Europe across the ocean and the excitement they felt when they reached it. Thesecond strain is more playful and represents the life that the river has provided for people for centuries. The Triorepresents the calmness and civility when Palatka was discovered, and the happiness the settlers must have feltknowing they had found their perfect place to call home. The break strain represents the hard work and efforts thatwere put forth to secure the land and build a community. There would have been many triumphs and manysuccesses, but the journey would have not been easy. The final strain is the culmination of the piece. This is thecelebration and the feeling of personal nobility that all of the settlers felt after taking a river and dirt and building acity. I hope you enjoy, The Palatka Port March!

Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - Digital Download SKU: A0.876447 Composed by Joe Procopio. Dance,Jazz,Pop. Score and parts. 24 pages. JoeCopio Music LLC #53323. Published by JoeCopio Music LLC (A0.876447). LILLY’S DANCE (THE TUMBLER) Back to School 2015 From PAPA’S FAMOUS DANCES by Joe Procopio LILLY’S DANCE (THE TUMBLER) is a delightful Latin flavored dance that was inspired by Little Miss Lilly who could tumble on command all by her big self when she was only 15 months old. When I first saw her dance and tumble at such a young age, I was so moved that I wrote this piece to celebrate her ability to amaze everyone with her dancing and tumbling. LILLY’S DANCE (THE TUMBLER) was originally written and arranged for a small ensemble, band, stage band or combo with flexible instrumentation so that it may be performed with only two Saxophones (Alto Sax I and Alto Sax II) and a standard backup with Piano/Keyboard, Guitar, Bass and Drums. In addition, any combo may be augmented by adding any or all of the parts included for Flute, Clarinet, Tenor Sax, and Baritone Sax. This flexible or variable instrumentation of LILLY’S DANCE (THE TUMBLER) makes it unique and perfect for schools and colleges that do not have a permanent roster of music students entering their music programs annually. It also eases the burden for Directors searching for good music to perform for groups with ever changing numbers of music students. What’s more, LILLY’S DANCE (THE TUMBLER) has a section open for solos to enable the ensemble to feature players who can improvise well enhancing not only the group’s enjoyment but also everyone’s listening pleasure. This piece is composed in the same style of the other dances in the set - all of which have been performed by College and High School students in many major concert events along the East Coast with great success. It is published separately and in a set entitled PAPA’S FAMOUS DANCES PART 1 from the sets PAPA’S FAMOUS DANCES Part I and Part II. Each Part contains 3 Dances. I have adapted the audio here for synthesizer so that it may be previewed. It is one of 6 works named and dedicated to each of my 6 Grandchildren: Lilly, Mary, Lydia, Emma, Joey and Wilson. Instrumentation for LILLY’S DANCE (THE TUMBLER) includes SCORE and parts for: ALTO SAX I ALTO SAX II TENOR SAX BARITONE SAX FLUTE CLARINET PIANO/KEYBOARD - GUITAR - BASS - DRUMS VITA Joe Procopio is a master musician and teacher with proven success for over 50 years. His purpose in teaching, writing music and books is to make his successful method of making musicians available to as many people as possible around the world. While I cannot guarantee that my methods will make you a great musician as they have for many others, says Procopio, I can say that they are designed to magnify your love of music - and that I guarantee each will enrich and enhance your life. People from all over the world have written to me to tell me so. As a Master Musician , Joe Procopio is an ASCAP Artist, composer, conductor and professional musician. He was the Lead Reed for many of the nation's top recording artists including: The Temptations, Steve and Eydie Gorme, Aretha Franklin, Tony Bennett, Lawrence Welk, Frankie Avalon, Frankie Laine, Jack Jones, Kathryn Grayson, Carmel Quinn, Don Cornell, Bobby Rydell, Vic Damone, Rodney Dangerfield, Foster Brooks, The Vagabonds, The Ritz Brothers, Sammy Cohn, Jimmy Van Heusen, Tiny Tim, Al Martino, Petula Clark, Wayne Newton, Pat Cooper, The Four Tops, The Spinners, etc. Lead Alto Sax Jimmy Dorsey Orchestra and the Palace Theater Myrtle Beach, SC He is listed in The Encyclopedia of Saxophone Music Londeix, Roncorp Pub. He is the teacher of Guitarist T. Maxwell heard in TV’s Magnum P.I., The Rockford Files and Kojak ; the vocalist/bassist I. Cattell of Brit Floyd (Pink Floyd) and New York Tenor Saxophonist Paul Carlon to mention a few. His accomplishments as a teacher include: The Miles Clark Endowed Chair, Music, College of the Albemarle, Elizabeth City, NC, Chair Music Depart.

Concert Band - Level 4 - Digital Download SKU: A0.1239680 Composed by David M. Stewart. March. Score and Parts. 92 pages. DMStewart Music #835071. Published by DMStewart Music (A0.1239680). This piece, The Palatka Port March, is intended to depict a little of the sense of life in the early years of Florida on the St. John’s River. It was once a target for ships venturing out to find the New World. It has been used to ferry barges and livestock. Some simply used it for sailing and transportation throughout the years, and some to catch fish to provide for themselves. The life on this river has been diverse, yet fulfilling over the years and will continue to be so in the future.   The melodies in this piece were taken from the shape of the St. Johns River from its upper point in Jacksonville, to where our part of the story ends in Palatka. Notice the falling and rising 8th note runs at the beginning, this represents the rise and the fall of the river as it enters Jacksonville from the Atlantic Ocean. The first strain is a linear, yet very regal melody where the heavy beats follow the contour of the river as it runs south. Here you can picture the ships coming from Europe across the ocean and the excitement they felt when they reached it. The second strain is more playful and represents the life that the river has provided for people for centuries. The Trio represents the calmness and civility when Palatka was discovered, and the happiness the settlers must have felt knowing they had found their perfect place to call home. The break strain represents the hard work and efforts that were put forth to secure the land and build a community. There would have been many triumphs and many successes, but the journey would have not been easy. The final strain is the culmination of the piece. This is the celebration and the feeling of personal nobility that all of the settlers felt after taking a river and dirt and building a city. I hope you enjoy, The Palatka Port March!