Small Ensemble B-Flat Clarinet,Bass Clarinet - Level 1 - Digital Download SKU: A0.889423 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Christmas,Concert,Instructional. Score and parts. 8 pages. Luis Anjos Teixeira #3692949. Published by Luis Anjos Teixeira (A0.889423). The clarinet quartet arrangement of Break Forth, O Beauteous, Heavenly Light, was made for the 2018 Holiday Contest Entry. Martin Luther developed the Lutheran chorale, a religious hymn sung in four-part harmony by the congregation as part of the service. Break Forth, O Beauteous, Heavenly Light was written by Johann Rist and Johann Schop in the mid-17th century, so that by 1734, when Bach included it in his Christmas Oratorio, it was well known to congregations. The harmonization, however, is Bach ‘s own. The arrangement remains faithful to the original facsimile of Bach. It is transposed for a modern clarinet quartet.  Variations in loudness and the duration of musical notes are the basic elements to musical expression. A few interpretation symbols where added to shorten some of the notes.  Breathing between music phrases is notated.  and the final was stretched with one more bar for a ralentando effect.  This details are only suggestions for an interpretation.    The piece is appropriate for beginner students or amateurs and without any doubt very pleasant to listen when played by an experienced ensemble. It can be used in concerts and all sorts of spiritual or religious events. Thank you very much for taking your time to read this text and to listen to the file. I hope you have a lot of fun and enjoy the music. Sheers! I wish you a Merry Christmas!  â€žBrich an, o schönes Morgenlicht „Brich an, o schönes Morgenlicht, und lass den Himmel tagen! Du Hirtenvolk, erschrecke nicht, weil dir die Engel sagen: Dass dieses schwache Knäbelein soll unser Trost und Freude sein, Dazu den Satan zwingen und letzlich Frieden bringen.  Words: Johann Rist (1607-1677), 1641; Verse 1 translated from German to English by John Troutbeck, circa 1885, et. al. Verse 2 translated by Arthur Tozer Russell, 1806-1874. Music: Ermuntre Dich or Schop, Johann Schop (1590-1667), 1641; Harmony by Johann Sebastian Bach, 1734. 1. Break forth, O beauteous heavenly light, And usher in the morning; O shepherds, shrink not with afright, But hear the angel's warning. This Child, now weak in infancy, Our confidence and joy shall be, The power of Satan breaking, Our peace eternal making. All blessing, thanks and praise to thee, Lord Jesus Christ, be given; Thou hast our brother deigned to be, Our foes in sunder riven. O grant us through our day of grace With constant praise to seek Thy face; Grant us ere long in glory With praises to adore thee. Thanks to Claudia Eppelt for the wonderful illustration, the cover design, all the Love and inspiration. Special Thanks to Nina and Stray Queen Mimi, Carlinhos, Pontinha, Maria Joaninha, Schwarzenegger, Koboldinha.  For all Living beings on Earth, for my Ancestors,  Thank You for all of You  All Your Love and Compassion. Love Forever. Luis Anjos Teixeira

Concert Band - Level 2 - Digital Download SKU: A0.1027468 Composed by Keane Southard. Contemporary. Score and parts. 40 pages. Spindrift Pages #546437. Published by Spindrift Pages (A0.1027468). Do You Hear How Many You Are? for Concert Band was originally written in April and May of 2010 for SATB choir. I made this concert band arrangement in 2012. The origins of this piece and text come from a very interesting experience I had in December of 2009. I have been learning a lot in the past few years about the state of our world and the many huge problems and crises we are faced with in the near future, and this discovery has been so daunting and overwhelming to me. So much change needs to happen in order for the near and long-term future of our world to be just and stable that I have felt a lot of guilt over my choice of profession. Why have I chosen to be a composer and musician when I could make more of an impact on solving these problems if I were a scientist or policy maker etc.? I have been struggling to find a solution to this dilemma for a while now and I just happened to be thinking about it, while filled with lots of stress and worries, one night as I was falling asleep in December of 2009. At the moment when I was in that state halfway between sleep and consciousness, I suddenly heard the line Do you hear how many you are? in my head, yet I felt as though I didn't come up with the line but that it was said TO me. I was instantly comforted, as if a load fell off my shoulders, and then I began to hear it being sung, which I knew was the beginning of a choral piece. I woke up, wrote down the music I was hearing (about the first six measures of the work) and then wrote down this entire poem. I truly feel that this message came to me for a reason, and that I need to share it through the music I create. Those of us who want to change the world for the better are not alone; we are many and we will make our voices hear in order to heal the world. -Keane Southard Duration: c. 3 minutes Grade 2 -Finalist, 3rd International Frank Ticheli Competition -Premiered April 19 2013 by the Minot State University Symphonic Band, Devin Otto, conductor Website: keanesouthard.instantencore.com.

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.933611 Composed by John Stafford Smith. Arranged by Thomas Coker. Folk,Patriotic. Octavo. 4 pages. Thomas Rembert Coker Jr #3503513. Published by Thomas Rembert Coker Jr (A0.933611). In 2009 when Sanctuary Choir of South Main Baptist Church in Houston where I served as Music Minister was scheduled to sing the National Anthem for the Houston Astros baseball game, I carefully examined the several arrangements in our library and other resources. Finding nothing which met the simple, straight-forward criteria I was searching for, we created this simple arrangement. Since its addition to the music library it has proven very useful on numerous occasions for a variety of groups. About the National Anthem:The lyrics for The Star-Spangled Banner were written on September 14, 1814 from a British ship in the Baltimore Harbor where attorney Francis Scott Key had waited anxiously through the night as the twenty-five hour bombing of Ft. McHenry progressed. He had been sent to negotiate the release of an American civilian and then was held on board the ship.  At the dawn’s early light when the flag could still be seen indicating the British had not taken the fort, he jotted down this poem which on March 3, 1931 finally became the National Anthem of the United States. Interestingly, it was Robert Ripley who in November of 1929 drew a panel in his syndicated cartoon, Ripley’s Believe It or Not stating Believe It or Not, America has no national anthem. With the encouragement of John Philip Sousa, President Herbert Hoover signed into law the adoption of The Star-Spangled Banner to rectify this situation. According to the Smithsonian, the melody, written by John Stafford Smith, was originally titled Anacreon in Heaven. Anacreon was an ancient Greek poet known for his love of wine and love. The song had become the constitutional song of a London gentlemen’s club called the Anacreontic Society. Could this explain the wide range of the melody? By utilizing this tune to the moving text, this once merry drinking song took on a bold new and powerful meaning. Thomas Coker, August 27, 2015  

Cello Solo - Level 4 - Digital Download SKU: A0.1288214 Composed by Chris Becker. 21st Century,Classical,Contemporary,New Age. Individual part. 6 pages. Beckeresque (ASCAP) #879245. Published by Beckeresque (ASCAP) (A0.1288214). When I first saw the enormous chair Rachel Gardner and Carlos Canul constructed for A Gift from the Bower, an outdoor, multi-disciplinary group exhibition conceived by renowned artists James Surls and Charmaine Locke, I had a vision of a cellist seated in a chair on the chair, performing solo in a bower deep in the woods of Splendora Gardens. I shared this image with Rachel, who didn’t think I was nuts, and over the course of several weeks, composed a piece for unaccompanied cello to be performed at the opening of the exhibit. I was honored when cellist Patrick Moore agreed to premiere the work; his formidable technique and the deep expression he brings to his playing inspired me to embrace the challenge of composing a solo for his instrument.Knowing my piece would be performed outdoors, I was inspired to evoke the rhythm of sound events one hears in woods, especially the rise and fall of wind as it moves through branches and leaves. The very opening of the piece and later, what I hear as an extended coda, were created as moments for the cellist as much as for the listener and are performed in a sort of meditative state, calling to mind the age-old question, “If a tree falls in a forest and no one is around to hear it, does it make a sound?� The repeating measures of 16th notes in the piece’s demanding middle section pay tribute to two of my heroes, Terry Riley and Philip Glass. While composing the work, Bach’s Six Suites for Violoncello Solo was another important point of reference, as was double bassist Eberhard Weber's 1973 album, The Colours of Chloë.Once finished, it made sense to name the piece A Gift from the Bower since the opportunity to compose the work was a gift, and in exchange, so is the music I have composed.A Gift from the Bower premiered on April 22, 2023, by Patrick Moore at the Locke Surls Center for Art and Nature.A revised version of this piece was completed on September 5, 2023.

String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1396167 Composed by Derek Hasted. Arranged by Derek Hasted. Baroque,Children,Comedy,Renaissance. 16 pages. Derek Hasted #979549. Published by Derek Hasted (A0.1396167). FANTASIA UPON A CABBAGE - STRING QUARTETFor School Music Teachers and for adults with a sense of the ridiculous...Derek Hasted writes This really does need a bit of explanation. Well, more than a bit!As a Music Teacher I often have to teach beginners how to read music, and of course the seven names of the musical notes can be made to spell words. Like CABBAGE.This, then, is a little piece of kitchen-based nonsense, cooking up a rather unappetising dish comprising cabbage, egg, beef and a lot, lot more cabbage. I’ve arranged it (if that is the word) to include nods to the renaissance and baroque periods.The scores contain mark-ups to show where a particular player has an item of food in their motif.As well as EGG, you’ll find some GEG (that’s scrambled egg) and a BAD EGG (and some sad music). You’ll also find that the recipe includes a helping or two of BEEF.Bach comes in for a special mention, as there’s a fugue-like section where the subject comes in a fifth away from the starting key (which I’ve loosely interpreted as being a recipe in a foreign language) and there’s some stretti (well, just about) at the end, when the fugue subjects overlap a tiny, tiny amount. And we also pay homage to the pedal section of an organ, where the CABBAGE subject comes in down low on the 'cello at half the speed of the original.The final, jazzy, chord at the end contains seven notes that collectively spell CABBAGE.So there are lots of teaching points, lots of things to ask the audience to listen out for, and a lot of mischief in a compact piece.The musical refrain CABBAGE is not the greatest motif to work with, but on reflection, when you have this much cabbage, it’s much better to listen to it than have to eat it...I hope you enjoy playing this piece!This is one of a large and growing range of accessible ensembles from experienced arranger Derek Hasted, and is supplied as full score and parts. Derek's website at www.derek-hasted.co.uk/smp lists all his arrangements by title and by number of instruments, with links to soundclips and sample score.

Horn,Tenor Saxophone,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1351942 By Dinah Shore. By Jule Styne and Sammy Cahn. Arranged by F. Leslie Smith. 20th Century,Jazz,Pop,Standards. 20 pages. Sweetwater Brass Press #936564. Published by Sweetwater Brass Press (A0.1351942). “I’ll Walk Alone� is a World War II era ballad whose poignant melody sounds as though it could have been written just yesterday.  First introduced in the 1944 movie Follow the Boys, it was hugely popular and has since been recorded by numerous artists.     Universal Pictures produced Follow the Boys in an effort to help boost morale for both overseas military and folks on the home front.  Despite being filled with stars and songs, critics tended to dismiss it as hokey and trite.  The exception was a scene in which Dinah Shore sang “I’ll Walk Alone.�  Nominated for the Academy Award for Best Original Song, Ms. Shore’s follow-up Victor recording spent 20 weeks on the top ten Best Selling Records chart.  The song was used yet again in 1952 for another motion picture, With a Song in My Heart, the Jane Froman biographical film, and the melody eventually developed as a standard, particularly in the world of jazz.     Sammy Cahn’s lyrics for this song express the feelings and the promise of a woman who has been separated from her lover by the war.  She pledges that she will be true, that she will wait for him, and that “'till you're walking beside me, I'll walk alone.�  Jule Styne’s melody is both plaintiff and simple. an eight-measure phrase, a repeat of the phrase, an eight-measure second phrase, then another repeat of the first phrase.     For this arrangement, the suggested tempo is a relatively slow, blues-like 72 bpm.  It features a tenor saxophone as lead and solo instrument accompanied by brass quintet.  A four-measure introduction opens the piece with Trumpet 1 playing melody and the other four brass providing background.  Following the intro, Tenor Sax plays its first three notes alone; the other instruments begin their accompaniment on measure 6.  Trumpet 1 is tacit during measures 6-11 but begins adding counterpoint in measure 12.       In performing this arrangement, brass instruments should ensure that, when the Sax plays, their volume as a group is under (i.e., softer than) the melody.  The exception begins at measure 36, when a crescendo leads to the quintet playing fortissimo.  During this section, the Tenor Sax plays a couple of responses.  At measures 43 a decrescendo lowers the brass volume back to its original soft accompaniment level.  The piece ends with brass recapping the introduction and Sax providing a final statement.     This piece, completed in 2023, consists of 57 measures, a little over three minutes in length.  Written in the key of G major, Tuba’s lowest note is a G below the staff.  Other than that, all notes are well within the normal playing range of each instrument.     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.

Piano - Digital Download SKU: A0.1066788 Composed by THEMIS KOUTRAS. Christian,Gospel,Praise & Worship,Sacred. Full Performance. Duration 373. THEMIS KOUTRAS #5209807. Published by THEMIS KOUTRAS (A0.1066788). This is a song in parable saying I feel the pain of the son of man upon my back I like to interpret this parable song it means that I love the lord JESUS CHRIST so much it means my memory is not so good now and I sometimes forget a lot of things it means that sometimes when I do forget the whole holy bible and see the gospel the moment he has been crucified I feel his pain on the cross in my heart down deep meaning I get down with enormous amount of pain as if I am spiritually crucified with him then when he gets raised to live it changes and then I rejoice to the full with him then I remember the holy bible again now at this time my memory is very good I think GOD has healed my memory?

Small Ensemble Bass Saxophone,Euphonium,Piano Accompaniment,Tuba - Level 4 - Digital Download SKU: A0.974155 Composed by Modest Mussorgski. Arranged by Jose Vera. Romantic Period. Score and parts. 5 pages. Josensei #5541955. Published by Josensei (A0.974155). The French Tuba (Saxhorn Basse and later Tuba Français in Ut) was the bass of the low brass section in most french orchestras until around 1977, when the american tubist Mel Culbertson arrived to France and changed their tuba world. When Maurice Ravel made the orchestration of Mussourgsky´s Pictures at an exhibition, he wrote the famous Bydlo solo for this small instrument, the French Tuba. Nowdays this solo is comonly played on either Euphonium or Bass Tuba. It is a good thing to have this solo fresh by playing It in public and here is an arrangement that respects the orchestral part of the French Tuba as is but with some little changes in the piano part that makes It very enjoyable and interesting to perform as a part of your recital.As now the French Tuba is getting available again, I made this arrangement with this original instrument in mind, but It can be played with Euphonium or Bass Tuba as well. There is an extra part in treble clef if needed or prefered.

Piano,Trumpet - Level 5 - Digital Download SKU: A0.1028166 Composed by Graeme Culpepper. Contemporary. Score and part. 47 pages. Graeme Culpepper #6866343. Published by Graeme Culpepper (A0.1028166). Concerto for Trumpet and Orchestra Composer: Graeme Culpepper Year: 2022   Program Notes: I feel that there is a time in every composer's life when they decide to write a concerto. Writing a concerto is as intriguing as it is difficult, as finding a balance between soloist and ensemble can prove to be a tricky task. What’s more, is deciding upon said ensemble. In today’s musical climate, the supporting ensemble can be a variety of different instrumental groups ranging from a chamber ensemble consisting of just a few musicians to a full symphony orchestra. In my humble opinion, with a genre as grand as a concerto, especially one involving the trumpet, I find it fitting to use the orchestra to accompany the trumpet. However, I opted to use an orchestra without a trumpet section to better support the soloist. This concerto’s first movement is built upon a couple of form-defining motifs. One in the form of an ostinato that is constantly changing meter, and another that is a simple short rhythmic cell that is able to fit in a variety of different textures throughout the movement. This movement also introduces the main motif throughout the entire concerto: a melodic sequence consisting of a minor third, a perfect fifth, followed by another minor third which resolves down by half step. This is the unifying motif of the entire concerto. I often ponder as to where the material in the second movement came from. After a long time of reflection, I have come to the conclusion that it is a subconscious expression of myself that comes from deep within. The second movement is perhaps the most vulnerable I have ever been with any of the music I have written, and the experience I personally have when listening to it is one that is very intimate. The third movement is a thrilling romp that is entirely built on the unifying motif mentioned earlier. The whole movement is essentially one big variation of itself. This movement is arguably the most technical and gives the trumpet soloist a great opportunity to show off their skill. This movement is also built upon a one-bar rhythmic ostinato so that the tension in this movement is never fully resolved until the very last bar, in hopes that this will keep the listener on their toes at all times.  Performed live in Recital Hall at Indiana University Jacobs School of Music on March 1st, 2022Purchase includes Full Score + Solo Trumpet Part.

Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1027467 Composed by Keane Southard. Contemporary. Octavo. 8 pages. Spindrift Pages #546435. Published by Spindrift Pages (A0.1027467). Do You Hear How Many You Are? for SATB choir was written in April and May of 2010. The origins of this piece and text come from a very interesting experience I had in December of 2009. I have been learning a lot in the past few years about the state of our world and the many huge problems and crises we are faced with in the near future, and this discovery has been so daunting and overwhelming to me. So much change needs to happen in order for the near and long-term future of our world to be just and stable that I have felt a lot of guilt over my choice of profession. Why have I chosen to be a composer and musician when I could make more of an impact on solving these problems if I were a scientist or policy maker etc.? I have been struggling to find a solution to this dilemma for a while now and I just happened to be thinking about it, while filled with lots of stress and worries, one night as I was falling asleep in December of 2009. At the moment when I was in that state halfway between sleep and consciousness, I suddenly heard the line Do you hear how many you are? in my head, yet I felt as though I didn't come up with the line but that it was said TO me. I was instantly comforted, as if a load fell off my shoulders, and then I began to hear it being sung, which I knew was the beginning of a choral piece. I woke up, wrote down the music I was hearing (about the first six measures of the work) and then wrote down this entire poem. I truly feel that this message came to me for a reason, and that I need to share it through the music I create. Those of us who want to change the world for the better are not alone; we are many and we will make our voices hear in order to heal the world. -Keane Southard Duration: c. 3 minutes -Winner, 2010 Ars Nova Singers Colorado Composers Competition (Professional Division) -1st Prize, Warren County Summer Music School's Promising Young Composers Competition, 2014 Premiered June 3, 2011 in Boulder, CO by the Ars Nova Singers, Thomas Morgan-conductor PROJECT : ENCOREâ„¢ has found this work to be of exceptional merit. Its panel of internationally known conductors has selected this work for inclusion in its catalog of recommended choral music. Website: keanesouthard.instantencore.com.

Brass Ensemble Euphonium,Horn,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.802608 By Steve Green. By Greg Nelson and Phill McHugh. Arranged by Peet du Toit. Christian,Gospel. Score and parts. 11 pages. Peet du Toit #5983089. Published by Peet du Toit (A0.802608). Steve Green is the son of missionaries. It therefore seemed natural that this song written by Greg Nelson and Phil McHugh which pictures hungry, hurting people who are unaware of the Christian message, would resonate with him. However, Green had a life-changing experience when he realized he'd been living a fake and phoney life, where he'd been doing the right things but with the wrong motives. He'd therefore understood his desperate need for a Saviour and ran to Jesus for what He alone can provide. As a consequence, when this song was pitched to him, Green had just come through a pretty significant life turn-around. The singer recalled to CCM Magazine presents 100 Greatest Songs In Christian Music: It resonated for two reasons - first, because my parents had given their lives to evangelize, and their love for the people they were serving around the world was motivated by Christ's love for them; so that was definitely one of the reasons why I gravitated to the song. The other reason was that for the for the first time, I suppose, I was realizing that it isn't just those who never heard about the Lord who needed him. I knew that I was surrounded by people just like me who were living kind of an external, performance-based Christianity, but they had no light. I started thinking of us as the 'elder brothers' - those who never ran away from home but were just as lost as the prodigal.Watch Steve Green singing this heartfelt song on YouTube at https://www.youtube.com/watch?v=Nbxvc6eeXso .I found this music and lyrics so inspiring and beautiful, I just had to translate it to brass instruments. Enjoy!

Piano - Digital Download SKU: A0.1066610 Composed by THEMIS KOUTRAS. Christian,Gospel,Praise & Worship,Sacred. Full Performance. Duration 381. THEMIS KOUTRAS #4782797. Published by THEMIS KOUTRAS (A0.1066610). This is how it is with me many times i felt the pain suffering of our LORD even more when i watch the gospel it is like withing my heart i am feeling the same pain and suffering he went through very much like sting martyred but not physically i feel it spiritually withing my heart ye true but when he then is risen acceding i then remember this and feel the exact joy he feels i feel it for him been happy that he now lives again forever ye true.

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1198518 By Bradley Sowash. By William B. Bradbury. Arranged by Bradley Sowash. Christian,Jazz,Praise & Worship,Religious,Sacred. Octavo. 16 pages. Bradley Sowash #797661. Published by Bradley Sowash (A0.1198518). Classic hymn set to a contemporary groove SATB, pianoThis anthem begins with the piano and soloist laying out a quiet slow gospel waltz. However, when the choir joins in with an enthusiastic “Yes! Jesus loves me,� the congregation knows this is not your Grandma’s version of the Sunday school classic. The work continues in a jazz waltz feel until a sudden stop when the piano sets up a funky back beat feel and the music really starts to kick. A key change near the end moves the energy up again for a really big ending. It will take more than one rehearsal to put it together but it’s worth it to see their smiles of appreciation.

Concert Band - Level 4 - Digital Download SKU: A0.1153691 By Scott Custer Jr. By Scott Custer Jr. Contemporary. Score and parts. 101 pages. Scott Custer Jr #753948. Published by Scott Custer Jr (A0.1153691). My first complete concert band piece. It's been in the works for about 3 months. The early drafts of this piece were written in April/May and were then left to collect dust for months. I wrote it to experiment with melodic/harmonic minor scales and did not intend to finish the piece. Around the same time I wrote the early drafts of the piece, my high school band director asked if I wanted to write a piece for the concert band. I agreed and spent months working on different pieces of music, completing none of them. Around late October I stumbled across this looking through old pieces of music for some new ideas. I listened through it 3 or 4 times and decided to continue the piece. After spending roughly two months finishing the draft, and another month revising and adding parts, I had finally finished Trapped. When I started working on this piece with the intention of finishing it, I was at a difficult point in my life. I had recently come home from my rookie season of drum corps and was still transitioning back to the real world. The freedom of tour had been taken away from me, I had mentally matured a lot during the summer. While only 17 I felt like I was stuck with a bunch of kids. I had spent all summer with friends much older than me, learning a lot from them and taking inspiration from them in many ways. When I started this piece, I was conflicted with many thoughts and emotions. I was still under the impression that my peers in the music program hated me because of some of my actions last year. The girl from home I had been talking with all summer while I was gone, and hoped to start a relationship with, lied to me while I was gone about many things, causing me to remove them from my life. The last year and a half have involved many events like losing my best friend of 5 years because of, what I consider, an overreaction on my part; being used for my kindness; lied to; having secrets about me revealed behind my back by those I trusted; being a therapy friend; constant overthinking; as well as toxic friendships I didn’t want to leave because I gave them the benefit of the doubt. I felt trapped. I had spent so long trying to improve myself to become who I am today, and I still felt like crap. Even though I knew and promised myself I wouldn’t follow through, I was battling suicidal thoughts and I was in a severely depressive episode of my life. I wrote this piece to express the feeling of overthinking, being trapped in your mind, and the road to recovery. The constant back-and-forth battles with yourself, unsure of where to go and what to do next; feeling trapped. I hope that this piece connects and resonates with those of you in a similar position to what I was in, and I promise there is a way out and that life does get better. And with that, I present to you, Trapped.

Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1198180 Composed by Charles Stephens and David Vanacore. Arranged by John Fries. 20th Century,Broadway,Jazz,Latin,Musical/Show,Standards. Score. 1 pages. John Fries #797369. Published by John Fries (A0.1198180). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer.  The song's chorus, like many in the Great American Songbook, is written in the A-A-B-A format. However, instead of 32 bars, it has 64, plus an 8-bar tag. The tag is often dropped when the song is performed. The tune, like many of Porter's, shifts between a major and minor feeling. The A section is in the key of B-flat minor before modulating to B-flat major and back. When the song came out in 1930, a newspaper labelled it as 'in bad taste'; radio stations avoided broadcasting it. Today it is a jazz standard.