Piano Solo - Level 3 - Digital Download SKU: A0.1248632 By Herb Alpert. By Burt Bacharach and Hal David. Arranged by Timothy Stapay. Broadway,Film/TV,Jazz,Musical/Show,Singer/Songwriter,Standards. Score. 3 pages. Timothy Stapay #843127. Published by Timothy Stapay (A0.1248632). This is an arrangement of This Guys In Love With You for intermediate piano solo.This Guy's in Love with You is a song written by Burt Bacharach and Hal David, and recorded by Herb Alpert. Although known primarily for his trumpet playing as the leader of the Tijuana Brass, Alpert sang lead vocals on this solo recording, arranged by Bacharach. An earlier recording of the song was by British singer Danny Williams titled That Guy's in Love, which appears on his 1968 self-titled album.As documented in an A&E Biography episode featuring Bacharach, the recording originated when Alpert, while visiting at Bacharach's office, asked, Say, Burt, do you happen to have any old compositions lying around that you and Hal never recorded; maybe one I might be able to use? Alpert said he made it his practice to ask songwriters that particular question: often a lost pearl was revealed. As it happened, Bacharach recalled one, found the lyrics and score sheet in his office filing cabinet, and offered it to Alpert: Here, Herb ... you might like this one.Lyrics:You see this guyThis guy's in love with youYes, I'm in loveWho looks at you the way I doWhen you smile I can tellWe know each other very wellHow can I show youI'm glad I got to know you, 'causeI've heard some talkThey say you think I'm fineYeah, I'm in loveAnd what I'd do to make you mineTell me now, is it so?Don't let me be the last to knowMy hands are shakingDon't let my heart keep breaking, 'causeI need your loveI want your loveSay you're in loveIn love with this guyIf not, I'll just dieTell me now, is it so?Don't let me be the last to knowMy hands are shakingDon't let my heart keep breaking, 'cause I need your loveI want your loveSay you're in loveIn love with this guyIf not, I'll just die.

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.802545 By Helen Morgan. By Jerome Kern. Arranged by Peet du Toit. Musical/Show. Score and parts. 9 pages. Peet du Toit #5776417. Published by Peet du Toit (A0.802545). This is one of the most famous songs of the 1927 musical play Showboat. It has a blues tempo. It is also a pivotal song showing that music is a universal language. Though only sung by African-Americans at the time, 'Julie' was singing this on the Cotton Blossom (boat) when 'Queenie', the black cook, remarked that it is strange that a lighter skinned person knew and sang that song. Nonetheless, she joined in and soon their was an ensemble of other dockworkers joining in, singing and dancing with.Experience some of this joy when playing it on your brass instruments. Your crowds will love you for it too!

Percussion Ensemble - Level 3 - Digital Download SKU: A0.1024744 Composed by Mykola Leontovych. Arranged by Matthew Kimbley. Christmas,Concert. Score and parts. 35 pages. Matthew Kimbley #4855163. Published by Matthew Kimbley (A0.1024744). Carol of the Bells. When most people hear that, they think of handbells. But why not use a glockenspiel (also known as orchestral bells)? Matthew Kimbley, when arranging this popular Christmas carol, chose to do that very thing. Add a marimba, vibraphone, chimes, wind chimes, temple blocks, two triangles, sleigh bells, claves, and bass drum, and you have an exciting arrangement of Carol of the Bells for ten-player percussion ensemble.This piece is about three and a half minutes long, and is perfect for school functions and Christmas events. This piece can technically be played by as few as five percussionists, although it is intended for ten. It is an exciting start or finish to any concert, and is great for students and professionals alike. It is written so that it can be played at nearly any speed, so it can be adjusted based on how advanced the ensemble is.This piece is fun for the audience as well as the performers!This includes the conductor score only.

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1309904 By Cheryl Prazak. By Lyrics: Cheryl Prazak and Music: Jon Burr. Arranged by Jon Burr. Country,Folk,Traditional. Score. 17 pages. Cheryl Prazak #899036. Published by Cheryl Prazak (A0.1309904). Cotton-Eyed Texas is a celebration of all good things Texan.Lyrics by Cheryl Prazak, music by Jon Burr Arranging, production and video by Jon Burr (arrangerforhire.com)Lyric:Let me tell you ‘bout a place that’s stood the test of timeOnce it was a country, but now a State of MindTexas is the place I know, it’s special and it’s reallet me share some things it’s got you oughtta see and feelDo-si-do with fiddle and bow, Texas two-step and Cotton-Eyed Joe,heel and toe, do-si-do, Texas two-step and Cotton-Eyed Joe,We belt it out with Jennings, echo through the hills,rave with Buddy Holly, “ah-hah� with the great Bob Wills.We croon with Kenny Rogers, George Strait and young Clint Black.We dance the Texas two-step to Galveston and backDo-si-do with fiddle and bow, Texas two-step and Cotton-Eyed Joe,heel and toe, do-si-do, Texas two-step and Cotton-Eyed Joe,Texas has its mountains and plains, valleys and bayous.We had cottonfields once where legendary pickers grew,Like Lightnin’ Hopkins, T-Bone, Blind Lemon, Stevie Ray played the bluesBuddy Holly, and Willie Nelson sang their stories tooDo-si-do with fiddle and bow, Texas two-step and Cotton-Eyed Joe,heel and toe, do-si-do, Texas two-step and Cotton-Eyed Joe,Us Texans like to hunt and shoot, and what we shoot, we eat.When you smell the bar-b-cue, bring a dish ‘n grab a seat.Tex-Mex, tacos, fajitas, enchiladas and red wine!Avocado guacamole suits a Texan just fine!Do-si-do with fiddle and bow, Texas two-step and Cotton-Eyed Joe,heel and toe, do-si-do, Texas two-step and Cotton-Eyed Joe,Do-si-do with fiddle and bow, Texas two-step and Cotton-Eyed Joe,heel and toe, do-si-do, Texas two-step and Cotton-Eyed Joe,We have fought to live our way, and we can fight again.When the need presents itself, we only fight to win.We have fought to live our way, we can live no other.If you feel like coming this way, don’t mess with Texas, brother!Do-si-do with fiddle and bow, Texas two-step and Cotton-Eyed Joe,heel and toe, do-si-do, Texas two-step and Cotton-Eyed Joe,Texas has its music, Texas has its foodTexas has its history to put you in the moodThe very best way to visit is to travel far and wideone end to the other right through the countrysideDo-si-do with fiddle and bow, Texas two-step and Cotton-Eyed Joe,heel and toe, do-si-do, Texas two-step and Cotton-Eyed Joe,Do-si-do with fiddle and bow, Texas two-step and Cotton-Eyed Joe,heel and toe, do-si-do, Texas two-step and Cotton-Eyed Joe

String orchestra - Grade 2 - Digital Download SKU: IZ.OMW144 Composed by Marcia Stockton. Score and Parts. 21 pages. Imagine Music - Digital #OMW144. Published by Imagine Music - Digital (IZ.OMW144). 9 x 12 in inches.Harvest Dance was originally written in 1995 as a piece for small orchestra (strings plus woodwinds and french horns). It is a dance of unbridled joy to celebrate a rich harvest of nature's bounty. In 2013, I transcribed it from my private archive of old dusty audio tapes no one had ever heard, and with the CarsonValley Sinfonia in mind, revised it for string orchestra without winds.1995 was a low period in my life. The pressure from my job in the technology industry was relentless, and personal relationships at that time sometimes brought emotional pain instead of solace and comfort. Grasping for any ray of hope to illuminate the gloom, I turned back to my original love: music.Immersing myself deeply in the process of music creation, I rediscovered not only a talent for composition, but even more importantly tapped into the creative source of uplift, joy, and energy, the source of all gifts, that is available to every sincere person. During those years, composing music was a vital lifeline. Like the powerful beam of the rescuer's flashlight guiding you toward the daylight when you are emerging from a dark cave. Like a new baby being born. Now a great many years later, life now brimming with music and friends, and having put old sorrows far behind me, music from that time of troubles still fills me with the same joy as when I composed it, and I hope it uplifts you.Harvest Dance is dedicated to my friend, composer John O'Neill, with profound appreciation for his encouragement, as well as helping me learn the practicalities of arranging for a string orchestra.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1461634 By Various. By Vasily Solovyov-Sedoi. Arranged by Will Corbin. Jazz,Pop. 23 pages. Will Corbin #1040378. Published by Will Corbin (A0.1461634). This song, published in 1955 during the warmest part of the Cold War, is a true Soviet anthem and also, after it escaped the Iron Curtain, a modern jazz standard. When composer Vasily Solovyov-Sedoi and his poet-lyrcist partner, Mikhail Matusovsky put the song together, they titled it Leningrad Nights (which today would be the very unpoetic St. Petersburg Nights. For some reason the Soviet Ministry of Culture asked them to rename it, roughly, Evenings In The Moscow Suburbs. Thankfully, the official name didn't stick. The song provided break music for a Soviet music and news station and also for Radio Moscow. I heard it performed by a small band on the steps of the Katerina Palace, the Summer Palace, outside St. Petersburg and was inspired to give it a shot when I got home. This accessible arrangement, which features a Dixieland break, is for two trumpets, horn, trombone and tuba. If you need other instrumentation, please contact me at wilcor@aol.com.

Full Orchestra - Level 4 - Digital Download SKU: A0.869351 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 81 pages. Thomas Oboe Lee #15869. Published by Thomas Oboe Lee (A0.869351). Instrumentation: 3232-4331-timp-2perc-strings. When I received the invitation from Jonathan Cohler to write a Concerto for Orchestra for the Brockton Symphony, I immediately thought of all the composers who wrote works inspired by Bartok’s seminal work of the same title: Roger Sessions, Elliott Carter, Michael Tippett, Witold Lutoslawski, Joan Tower and, most recently, Jennifer Higdon. My Concerto for Orchestra, opus 111, is in five movements. It will be heard without pause between movements. I. Largo … Misterioso! II. Allegro con moto … Evidence!!! III. Adagio … Epistrophy! IV. Andante … In Walked Bud! V. Presto … Rhythm-a-ning!!! My initial idea for the Concerto was contrast - contrast between the timbres and colors that the various sections in an orchestra provide. For example, the woodwinds would provide a sharp contrast against the brass; the percussion section against the strings, etc. I also was interested in writing a work where each movement would flow into the next without pause – thus providing another form of contrast, that of tempi and mood change. A third form of contrast would be the different styles and forms of music that I would come up with. And I had a lot of fun conjuring up the many possible scenarios and orchestral tableaux. I actually started with the second movement: the Allegro con moto. I wanted something that had a nice surging quality that the whole orchestra could jump into. When I finished that, I thought perhaps it would be too intense for the opening of the work. I thought, maybe I should begin with something slower, more brooding in nature before the explosive stuff. I noticed that Carter’s Concerto began with a slow Introduction. It had a title: Misterioso. Being an avid fan of Thelonious Monk, aka Thelonious Sphere Monk, Misterioso brought to mind a Monk composition of the same title. That epiphany gave me the idea of naming each of the five movements after a Monk tune. Monk’s Misterioso is a blues with an insistent theme of 8th note patterns of rising 6ths; which has nothing to do with my first movement. My Misterioso features a solo for the bass clarinet in the midst of a shimmering atmosphere that is punctuated by accents in the bass. They are both mysterious, but divergently opposed in mood and substance. Monk’s Evidence is a tune with jabs and punches, irregularly placed within the measure – not unlike what I did in the second movement. This movement is perhaps the most Monk-ish of all. Monk’s Epistrophy is a tune constructed with a four-note pattern that is angular and twisted. I wrote a solemn brass choir movement that is an epistle in nature, a sermon of sorts. The title of Monk’s In Walked Bud refers, of course, to the amazing pianist Bud Powell. I took the word walk and translated it into an andante. What resulted was a silly, but jolly movement featuring the woodwinds. I wanted to end the work with a fast and furious finale. Inspired by the word rhythm in Monk’s Rhythm-a-ning, I began the last movement with a solo for the percussion section – timpani, tom-toms, bass drum!!! The orchestra eventually joins in the mayhem, breaking into a scherzo-like frenzy. It ends with a big bang!!! Enjoy!!!Audio link: https://thomasoboelee.bandcamp.com/album/concerto-for-orchestra-opus-111-2005

Percussion Ensemble - Level 3 - Digital Download SKU: A0.1024745 Composed by Mykola Leontovych. Arranged by Matthew Kimbley. Christmas,Concert. Score and parts. 56 pages. Matthew Kimbley #4855159. Published by Matthew Kimbley (A0.1024745). Carol of the Bells. When most people hear that, they think of handbells. But why not use a glockenspiel (also known as orchestral bells)? Matthew Kimbley, when arranging this popular Christmas carol, chose to do that very thing. Add a marimba, vibraphone, chimes, wind chimes, temple blocks, two triangles, sleigh bells, claves, and bass drum, and you have an exciting arrangement of Carol of the Bells for ten-player percussion ensemble.This piece is about three and a half minutes long, and is perfect for school functions and Christmas events. This piece can technically be played by as few as five percussionists, although it is intended for ten. It is an exciting start or finish to any concert, and is great for students and professionals alike. It is written so that it can be played at nearly any speed, so it can be adjusted based on how advanced the ensemble is.This piece is fun for the audience as well as the performers!Note: the audio recording includes the optional ending.This includes both the conductor and performer scores.

C Instrument - Level 2 - Digital Download SKU: A0.1382259 By Noah Kahan. By Noah Kahan. Arranged by Barry McCormick. Country,Pop,Singer/Songwriter. Lead Sheet / Fake Book. 7 pages. B. McCormick #966772. Published by B. McCormick (A0.1382259). If you love Noah Kahan's music, you'll be thrilled to know that we have a digital sheet music product for his chart topping single Stick season. This song is a catchy and emotional tune that showcases his amazing voice and guitar skills. And now you can learn how to play it yourself with our lead sheet and chord sheet.A lead sheet is a type of sheet music that has all the information you need to perform a song. It has the melody, lyrics, chords, and sometimes other details like tempo, style, or key signature. A lead sheet is perfect for singers, guitarists, pianists, or any other instrumentalists who want to play along with the song.Our lead sheet for Stick season is no more than three pages long, so you don't have to worry about flipping pages while you play. It also comes with a bonus guitar chord sheet that has the lyrics and chords for the song. This chord sheet is only two pages long, so it fits easily on a stand if you want to print it out for performance.But that's not all. Our digital sheet music product also includes a performance note that explains the notation and gives you tips and hints on how to play and perform this piece. You'll learn how to do the fingerpicking and the strum pattern that Noah Kahan uses in the original recording. Here are some fun facts about the song and artist:- Stick season is a term used in Vermont, where Noah Kahan is from, to describe the period between fall and winter when the trees have lost their leaves and the landscape looks bleak.- Noah Kahan wrote this song as a reflection on his life and career, and how he feels torn between staying in his hometown or pursuing his dreams in the music industry.- Noah Kahan started playing guitar when he was eight years old, and he learned from his father, who is also a musician.- Noah Kahan has been compared to artists like Ed Sheeran, James Bay, and Vance Joy.Our digital sheet music  for Stick season is not only a great way to enjoy this beautiful song, but also a great way to improve your musical skills. Whether you are a beginner or an advanced player, you'll find something new and challenging in this piece. You'll also have fun playing along with Noah Kahan's voice and guitar.So what are you waiting for? Get your digital sheet music product for Stick season today and start playing this amazing song. You'll be glad you did!

Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1104138 Composed by H.W. Petrie. Arranged by F. Leslie Smith. 19th Century,Children,Comedy,Pop,Wedding. 28 pages. Sweetwater Brass Press #707372. Published by Sweetwater Brass Press (A0.1104138).       Howard W. Petrie was a composer of popular music active in the late 19th and early 20th centuries. One of his most popular songs was “I Don’t Want to Play in Your Yard,� published early in his career, 1894. The song underwent a revival in the mid-1950s when Peggy Lee recorded it. It also figured prominently in the popular 1981 film Reds. Lyrics are credited to Philip Wingate, and his first verse sets up the story. Two little girls were next-door neighbors and best of friends. One day, however, a quarrel arose and “hot tears were shared.� One announced, “You can’t play in our yard.� The reply of the other forms the familiar chorus: I don't want to play in your yard, I don't like you any more, You'll be sorry when you see me sliding down our cellar door, You can't holler down our rain-barrel, you can't climb our apple tree, I don't want to play in your yard, if you won't be good to me.       The second verse tells of the reconciliation. The two girls miss each other. They kiss and make up and remain friends “all thro’ life.� But “in sweet dreams of childhood� we still remember the controversy of the yard.       This version features the group's Trumpets somewhat taking the roles of the two little girls. It retains the F major key in which it was written, changes tempo four times (in addition to a few rallentando/a tempo instructions) and includes two short, rather simple cadenzas, one for each Trumpet. It starts (rather incongruously!) with the eight 4/4 measures of “Mary, Mary, Quite Contrary� then transitions to ¾ for the remainder of the piece.       Trumpets predominate with melody and lead. However Horn and Trombone do occasionally come to the fore to provide introductions, call-and-response figures and recapitulations. Both Trumpets play a few notes above their staff—G# and A—but for the most part, all instruments perform within their normal playing range. Performance time is about three and a half minutes to perform.       Completed in 2022, performance time runs about 3 minutes, 34 seconds. 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. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box. (Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt directly to him at lessmith61@bellsouth.net.).

Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1074352 Composed by Stanley M Hoffman. Classical,Contemporary. Octavo. 32 pages. Stanleymhoffman.com #678653. Published by stanleymhoffman.com (A0.1074352). PROGRAM NOTES As of the present writing, this choral tone poem had been gestating for over thirty years, and the concept and harmonies for it for over forty years. In the 1980s I began to work with the latter two in my brief orchestral piece Little Sea Nocturne. When reading the poetry of Edgar Allan Poe (1809–1849), I am most struck by how musical they are. When recited aloud they exhibit their own rhythmic sense. I was eager to incorporate those rhythms into my music. I had long been familiar with his poem The City In the Sea and began to sketch choral passages for the present choral tone poem in the 1990s. It took me until 2022 to complete it because I required many more years of experience at my craft to do so to lead into out of the choruses. In 2012 I completed a seven-minute unaccompanied version of the choruses with music unique to and unifying it simply called The City In the Sea. In composing The City In the Sea - Choral Tone Poem, my goal was to write a piece that, while steeped in tradition, sounds unlike anything in the literature that had come before it. The result is an original hybrid work that successfully and memorably combines salient aspects of the tonal, atonal, and modal musical languages into an organic whole. George Perle coined the term “twelve-tone tonality� to describe the music of Alban Berg and composers influenced by him such as Luigi Dallapiccola. The last title of which I am aware that accomplishes anything remotely related to what I am trying to accomplish musically in this choral tone poem is the piece Paradiso Choruses by Donald Martino (1974). However, I take twelve-tone tonality in entirely other directions in my work. That the duration of The City In the Sea - Choral Tone Poem came out to be thirteen minutes seems appropriate for piece about a sunken city. Rather than write program notes that narrate how the music unfolds I will simply shout out the most memorable aspects of what careful listeners will discern: a recurring heartbeat motif; shifting polychordal harmonies; echo technique; rhythmic diminutions and augmentations; an a cappella chorus featuring those harmonies with a surprisingly memorable recuring theme on top; sensuous flute duets; string section underpinnings by way of either sustained passages or wave-like gestures; tritone-related melodies, harmonies, and tone centers; several strategically placed grand pauses; tritone-related modal-sounding passages; melodic and chord clusters, especially the two climactic ones. INSTRUMENTATION 2 Flutes (2. doubles on Piccolo) 2 Oboes (2. doubles on English Horn) 2 Bb Clarinets 2 Bassoons 2 F Horns 2 C Trumpets 2 Trombones Tuba Timpani Percussion (Gong, Bass Drum, Chimes, Glockenspiel) Harp Strings DURATION 13:00 Stanley M. Hoffman (b. 1959) For biographical information visit: www.stanleymhoffman.com.

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1096702 By Motionless In White. By Andrew Colin Fulk, Christopher Cerulli, Erik Ron, Justin Deblieck, and Stephen George Sopchak. Arranged by Christopher Gingras. Rock. Score. 8 pages. DAVID LEE GINGRAS #700693. Published by DAVID LEE GINGRAS (A0.1096702). Masterpiece is a song performed by the group Motionless in White released on April 13th, 2022. Written by producer Andrew Colin Fulk, front man Chris Motionless Cerulli, songwriter Justin Deblieck and producer Erik Ron. It is the 6th song off the bands album Scoring the End of the World and has been described as a heavy metal ballad. When I wanted to learn the song on the piano I noticed that there were no complete versions of it out there so I wrote my own arrangement of the song. I arranged the song to be played on piano or sung but it will work on a variety of instruments. The solo in the middle was originally for a guitar but it sounds great when played on the piano so I included it in this arrangement. Enjoy!

Lever Harp - Level 3 - Digital Download SKU: A0.1401640 Composed by Rachael Acheson. 21st Century,Contemporary,New Age,Spiritual. Score. 2 pages. TheHarpLibrarian #984816. Published by TheHarpLibrarian (A0.1401640). Aries are fiery, competitive, independent ... and also the most likely of all the zodiac signs to sing that school-yard na na na NA na song to your face when they win.This is a short, 1-page original sketch for small harp, with a range from the F below middle C to the second B above middle C. It is written in A minor (aka no sharps or flats) and includes no accidentals. As such, it should fit pretty much any standard model of small harp with zero modifications, including any model of Harpsicle Harp (even the ones without levers), Roosebeck Pakistani harps, Harp-E, Musicmakers Sonnet 29, or Dusty Strings Ravenna 26.Because you will need to silence each chord immediately after playing to get that sharp, abbrasive, almost staccato sound from my video (something I didn't have the tools to notate fully in the score), this song is trickier than it looks and is not really a new beginner piece, despite the simple notation. Beginners are, of course, welcome to try playing it exactly as written. But you should know that it will not sound exactly the same.Please note that the preview cuts off after the first line of score (as this composition is so short). When you download your purchase, you will recieve a pdf that contains both the preview and the full score.

Piano,Violin - Level 4 - Digital Download SKU: A0.1261681 Composed by Robert Daniel. Broadway,Classical,Film/TV,Musical/Show. 25 pages. RDMusicStudios #854759. Published by RDMusicStudios (A0.1261681). On April 19, 2019, I started writing my first composition, His Memory, on my first album, Show Your Pride. The Show Your Pride album was influenced by my best friend, Nigel Shelby, who tragically passed away by suicide after experiencing bullying for being outed as gay. It has been a few years since his death turned a national spotlight on the issue of LGBTQIA+ mental health and bullying. He was 15 years old at the time of his passing. I feel like I've been stabbed in the heart when I found he was gone. It was the first time I had lost anybody that I was close to. I was in a lot of pain at the time. Losing my best friend is one of the most difficult and heartbreaking experiences I have had in my life. This album is telling a coming-out story about a bisexual musician going on a self-discovery journey to find his true authentic self. I first met Nigel in mid-2018 when I was nervous, struggling with depression, and coming out as bisexual, so I gathered enough strength and confidence to come out to him. He's very kind and supportive of me. He was brave enough to come out to me as well. He has been a really good friend and my spirit guide as long as I've known him. He was understanding, thoughtful, and had a maturity about him that I admired. I feel happy and honored to have known him and had the best friends with him. I truly believe he is watching over me every day. In this inspirational, heartbreaking piece, His Memory, I will share a coming-out story about two boys who came out to each other, spending their friendship together until one of them passes away. This piece is based on a true story of how I coped with grief, dealing with depression about my best friend's passing, and how I found happiness within myself after his memorial service. It drew inspiration from many compositions and soundtracks, including Where The Sky Has No Stars by Katahj Copley, Lose You Now by Lindsey Stirling (feat. Mako), You Will Be Found from Dear Evan Hansen by Benj Pasek & Justin Paul, April Sky by Lin Chin Cheng, and Avatar The Last Airbender by Jeremy Zuckerman. These compositions I mentioned express hope and spark memories of lost loved ones. This piece is in 3 Acts: Friendship, I Lost You. and His Memory Lives On. Each one was inspired by actual events. Act I: Friendship Act II: I Lost You Act III: His Memory Lives On While you are listening to this piece, I want you to think about someone you love who is no longer with you. If you're one of those people who lost someone special to you, I am so sorry for your loss. Just know that you are not alone. Don't try to run and hide from your grief. Whatever your grief experience, it's important to be patient with yourself and allow the process to naturally unfold. You will grieve for as long as you need to, but you are a strong person and will find your way through this. Life is so precious. Cherish every moment with your loved ones. Coming out is one of the most difficult things a person can do, but if you are having difficulty or are unsure about it, just know that there are people out there who do love you for who you are. Learn to embrace your authentic self. Don't let your sexual orientation define who you are. The right people will accept you and those are the only people who matter. Be yourself, be happy, and do what you feel. Don't care so much about what others think and enjoy your life! Keep following your heart and don't be afraid to stand out!

Trombone Solo - Level 5 - Digital Download SKU: A0.799352 Composed by Drake Mabry. 20th Century,Contemporary. Individual part. 13 pages. Drake Mabry #2015075. Published by Drake Mabry (A0.799352). 9.28.85 was written in 1985 and the date refers to the date of completion, September 28, 1985. Excerpts of this piece are included in Benny Sluchin’s book on contemporary trombone excerpts. This work includes my invention of the idea of playing lip multiphonics. Here's the story. During the Spring of 1985, I participated in the l'atelier de recherche instrumental department for acoustic instrument exploration at IRCAM working with Pierre-Yves Artaud (flute), Daniel Kientzy (saxophone) and Benny Sluchin (trombone). Most of the research was based on looking at new ways to produce sound with acoustic instruments and the department was open to performers and composers. A few months after the IRCAM workshops Benny Sluchin and I decided to work on a piece for him. We worked together to explore various contemporary techniques which I might select for the piece. After a while I narrowed down my choices to a movement with air, one with lip multiphonics, and one using the spatial characteristics of the bell, singing, and sending sound out the back by an alternate F tube. Benny is great to work with as he’s a wonderful musician, anything is possible, he’s open to trying out new ideas and he’s a great human being. The perfect combination for a composer. First, about the lip multiphonics in the second movement. During one of our work sessions we looked at singing and playing multiphonics but I wanted something different. So I asked Benny what would happen if he placed his embouchure between two partials of the overtone series. The result was amazing!! A number of partials sounded at the same time and the textural colors were varied and beautiful. The only problem with this was the window for placing the embouchure was very narrow. Slightly too high or slightly too low would result in a terribly out of tune and uncentered partial. Reminded me of what a sick cow might sound like. This difficulty was less pronounced between partials of a fifth but became more difficult when the partials were closer together. Fourths were okay but major and minor third partials were extremely difficult and risky. We decided what the heck and I wrote the second movement knowing the risks. But when the embouchure is well placed it produces such a beautiful sound. Benny mentioned that the idea had a pedagogical side benefit. He said from being able to focus on placing the embouchure in such a limited ‘window’ it made placing the embouchure for normal note much easier. My invention has been used by other composers since including Xenakis in 1986 and an Icelandic composer a couple of years later. The alternate movement come about after Benny had played the piece for a couple of years. He’s able to get these multiphonics but realized that maybe there would not be many other players able to do so. To avoid the problem that this movement might scare players away from the piece we decided that it would be good to have an alternate movement which would use the same ideas but in a less stressful way for the performer. I thought this was a good idea and wrote, what for me, is a more meditative piece based on the same material. I also imagined that it could be played by itself if the player wished. There is a misprint in the score at the end of the first line where there appears a multiphonic based on placing the embouchure between an Eb and an A natural. The A should be an Ab. The first movement explores the subtleties of various vowel and consonant formations in the mouth while playing. Since the trombone is such a perfect amplifier these small details can be heard. For instance the difference between ‘ts’ and ‘tsh’ comes off well. I think of this movement as a vocal conversation or discourse which becomes highly animated at the end. The dynamics play an important role in providing additional colors. The player should really ‘speak’ without speaking for this movement to work. The third movement is my circus piece. I know it is complicated to.