Piano Solo - Digital Download SKU: A0.976871 Composed by Monica Bergo. Contemporary. Score. 5 pages. Monica Bergo #3241863. Published by Monica Bergo (A0.976871). 2017 Holiday Contest EntryASK AT WIND OF ME   If it will touch you The breeze of summer that It ends and goes away And leave it inside you Melancholy Ask at wind of me Ask at wind of me     If you will walk Between the anonymous crowd of this city And you seem to notice me You'll miss a beat Ask the wind if you want Remember us   Ask him where I live and if I keep my smile Ask the wind if I understand everything I've lost Of the open-air nights Pray and hope for the best for you Ask at wind of me the   Ask at  wind if I could make peace with the past Ask him if I realized that my dream so wrapped up He will talk about time When I looked so much like you You will listen to it And you will understand   Even mud does not hide the glow Of bright stars It does not cover the flare Remember your name is sun rising and as a phoenix you have a thousand resources   It was January, but there was sun, and it was Sunday, special day That's why you were born with the fire inside To melt the ice, it's your sixth sense   Crow that flies, bad  omen We in our body, an eternal discomfort You look in the mirror and you find yourself beautiful You are how I see you, there is light shining   If you do not find the person who looks like you in the world And you will only fool yourself In unnecessary research Because you're unique Do not let them ever change Awesome as you are   And you do not have to be satisfied The semblance of a love You're a ray of sunshine Always look for his heat If no one can understand That thin sorrow Look for me Ask at wind of me   Reminding me hurt you Try to forget If my name makes you suffer Try to let me go But if in a corner of the heart Allow  me to  stay I'll be with you in the wind ...   I'm the wind that laughs It wraps you up until the summer returns ...                                                                                                 Monica Bergo

Solo Guitar - Level 3 - Digital Download SKU: A0.1441062 By Keith Terrett. By Francisco Tarrega. Arranged by Keith Terrett. 20th Century,Classical,Contest,Festival,Instructional,Multicultural,World. Individual part. 12 pages. Keith Terrett #1021041. Published by Keith Terrett (A0.1441062). Recuerdos de la Alhambra (Memories of the Alhambra) is a classical guitar piece composed in Málaga by Spanish composer and guitarist Francisco Tárrega. It requires the tremolo technique and is often performed by advanced players.The piece was written for and dedicated to Tárrega's patron Concepción Gómez de Jacoby in 1899, commemorating their visit to the Alhambra palace and fortress complex in Granada, Spain. It was originally titled Improvisación ¡A Granada! Cantiga Árabe. It became known through an early 20th-century publication edited by Tárrega and dedicated as an homage to the French guitarist Alfred Cottin.Performance notesThe piece showcases a challenging guitar tremolo, wherein a single melody note is plucked consecutively by the ring, middle and index fingers in such rapid succession that the result is an illusion of one long sustained note. The thumb plays an arpeggio-pattern accompaniment simultaneously. Many who have heard the piece but not seen it performed mistake it for a duet.The A-section of the piece is written in A-minor and the B-section is written in the parallel major (A-major).Arrangements:Ruggiero Ricci arranged this piece for solo violin and often performed it as an encore.Chris Freeman and John Shaw recorded the song for their album Chris Freeman and John Shaw (May 1981, EMI Custom Records YPRX 1828, MAC 126).Nana Mouskouri recorded a vocal version for her 1989 album Classical. Sarah Brightman recorded a re-adapted vocal version for her album Classics.Alex Jacobowitz frequently performs a version of the song on his marimba and xylophone. He recorded it for several of his albums: Spanish Rosewood (1996), The Art of Xylos (2002), and Aria (2010).Luiza Borac arranged this piece for solo piano on her 2014 CD Chants Nostalgiques (Avie AV-2316).Xavi Ganjam made a special arrangement for sitar on his EP Soham (2019, Ganjam Records, Spain).Italian violist Marco Misciagna published the arrangement of this piece for solo viola.Soundtrack use:Recuerdos de la Alhambra has been used as title or incidental music in many films, including the soundtrack for René Clément's Forbidden Games (as played by Narciso Yepes), for The Killing Fields (under the title Étude as performed by Mike Oldfield), and in the films Sideways and Margaret.Performed and arranged by Jonathon Coudrille, it was used as the title music for the British television series Out of Town and a version performed by Pepe Romero was used as incidental music in The Sopranos episode Luxury Lounge. Gideon Coe on BBC Radio 6Music uses this tune as a musical background at approximately the half-way point of his evening weekday show. A sung version appears in the Studio Ghibli film When Marnie Was There.It is also the theme used for Philip II of Spain in the 4X strategy game Civilization VI, with the track progressing from a simple guitar arrangement to an entire orchestral performance as Spain advances through the ages.The theme was part of the soundtrack and storyline for the eponymous 2018 Korean television series Memories of the Alhambra.

Choral Choir,Choral - Level 3 - Digital Download SKU: A0.1390698 By Ibukun Bakare. By Ibukun Bakare. Arranged by Ibukun Bakare. 20th Century,Chamber,Christian,Classical,Traditional. 9 pages. Ibukun Bakare #974250. Published by Ibukun Bakare (A0.1390698). WA GBO PE WA ELEDUA is one of Yoruba Art Music composed by Ibukun Bakare. It is a song used as a thanks offering to GodIt tells the story of some unfortunate people whose lives almost ended up being tragedies but were shown mercy by GodThe Solo part of the song symbolizes a grateful soul whose happiness is clothed with tears due to the miraculous and wonderous intervention of the Almighty God even when they gave up and were rejectedIt is written for Solo,  Chorus including strings trio, although it can also be accompanied with piano including flute, but it not necessary to add horns to it in further not to change the mood and Form  that it representDespite the fact that it is a song to offer thanks to God, it still falls under threnody form, this shows how down and pained these people have been. Thanks be to God for his mercy and interventions.

Large Ensemble Cello,Double Bass,Harp,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.889419 Composed by Luis Anjos Teixeira. Concert,Contemporary. Score and parts. 36 pages. Luis Anjos Teixeira #3492515. Published by Luis Anjos Teixeira (A0.889419). For the 2018 Chamber Music Contest Entry Eternal Bridge was made to be performed by a group of six soloists playing the following instruments: Oboe, Harp, Violin, Viola, Cello, Double Bass. It is not a difficult piece once learned. It is really a great fun for the players and very easy listening too, It covers a very wide range of audience demands. There is a groove feeling on it that makes it very pleasant to most all people. Because of its plasticity the piece allows many interpretations, therefore I did not made much use of interpretation symbols in order to leave to the performers the freedom of doing their own. Bowing and fingering are left totally virgin at the hands of the schools or the creativity of the performing Artists. P.S. - The score was written on Finale. The sound file For the 2018 Chamber Music Contest Entry, was performed with samplers from Garritan and conceived as an audio support for the presentation of the score. This is the first time that this version is published in Sheet Music Plus. 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! Thanks to Claudia Eppelt for the cover design, all the Love and inspiration. Special Thanks to Nina and Stray Queen Mimi for my Family, all their Love Patience and Compassion. Love Forever.„The litle story of the - „Eternal BridgeEternal Bridge came out of a dream. Imagine a little railway station, a train that comes and stops, and your friends go inside. As you step on the little stairs to go inside, the doors close letting you out, and the train starts rolling. It speeds up very fast and enough so you can`t jump out of the little stairs back to the ground, you are holding now to the iron bars around the doors of the train, you see your friends and the people inside but they can`t see you, they can`t hear you, and you notice that the train is now on a bridge so high, that you can`t see the earth any more. Wind is blowing around me and I feel this cosmic cold and everything starts to twist around in a gigantic spiral. I still feel the Gravity but it goes in all directions at the same time pushing me violently and I feared to fail the grip on the iron bars and fall down, in an imaginary endless abyss. Little by little the speed of the events slows down progressively until everything freezes. Now, The other side of the bridge does not exist at all, neither the beginning or up or down. The train disappeared in a glimpse and I noticed that I was not falling down, just hanging there out in hyperspace, Free from Gravity. I lost the fear of falling in the abyss, it felt kind a good, because the only thing that I could see was light, pure beautiful bright white light, I was floating in light, I realised I could stay there forever, but then I felt lonely and wanted to come back home. When I finally woke up, I wrote this words in Portuguese and made a song out of it. the words go like:Ponte eterna abismo sem fundo - Vento ciclónico medo profundo - Comboio gelado lentidão d`aço - Espiral eterna suspensa no espaço - Maos agarram a vida duas barras d` aço - Corpo sacudido em espasmos de medo - Alucinação divina acordar de um sonho Eternal Bridge endless Abyss - Cyclonic wind deep Fear - Frozen Train slowness of steel - Eternal spiral suspended in space - Hands cling to life on two bars of steel - Body shaken into spasms of fear - Divine hallucination waking up from a dream

String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1518460 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Chamber,Historic,Standards,Traditional. 25 pages. Jmsgu3 #1092559. Published by jmsgu3 (A0.1518460). BWV 531, the Prelude and Fugue in C major, is an essential early organ work by Johann Sebastian Bach. Here are some key points about this composition:Composition and ContextIt was written around 1707 when Bach was in Arnstadt, making it one of his earlier organ works. It was composed during Bach's time as a church organist at the Neue Kirche (now called Bachkirche) in Arnstadt.Musical StructurePreludeIt opens with nine measures of solo pedals, featuring a recurring sixteenth-note figure and an unusual pedal trill. The manuals enter with a sixteenth-note figure in measure 10. It contains a 5-measure phrase of diatonic parallel sixths in the manuals with a pedal tone. It concludes with a fast, fantasia-like passage in the right hand, ending in a loud C major chord.FugueThe subject is introduced in the soprano voice and is two measures long, consisting entirely of sixteenth notes. It is also presented in the alto voice (transposed down a fifth) and tenor voice (down a fourth). Notably, the pedals never play the complete subject as initially introduced, only fragments of it.SignificanceThis piece is essential as an early example of Bach's organ writing. It showcases his developing counterpoint skill and ability to create complex, multi-layered compositions. The unusual features, such as the intro's pedal trill and the subject's treatment in the fugue, demonstrate Bach's innovative approach to organ composition even at this early stage in his career.

Piano Solo - Digital Download SKU: A0.976849 Composed by Monica Bergo. Children,Contemporary. Score. 10 pages. Monica Bergo #3236735. Published by Monica Bergo (A0.976849). 2017 Holiday Contest EntryGYPSY DANCE And it is another day that passes and goes I know that one the same will not return I feel restless, I lose my colors Invaded by the gray of the outside world   Need love And that sense of emptiness Suspended in limbo, I move in slow motion invent a fairy tale that time which was I miss the affection of my tribe   I wear a dress from 1000 colors Weave hair with grass and flowers Again gypsy in this other my life It is not just a fairy tale, it is a never ending story Between the elves, the fairies and gypsy violins In the woods near to ancient kingdoms I feel beautiful too, happy and accepted here's the trivial woman who has transformer   dance gypsy cries inside of me It is a fire that melts this cold there is freedom it is desire to live It is  dances gypsy and I’m the queen   Again this decomposes my identity Nemesis goes crazy and unleash My spirit Which is young and free I mud and Diamond Matte and shining   I alpha female of a group of witches Unleashed storms, threats suspended Then a rainbow of many colors Here the rain is over, wake up the flowers   We dance happy in this my kingdom In a circle, spell of a beautiful dream Another my world I will not return If I’m not anyone Leave me alone   I will not return In this tale, I will hide A still picture On the surface I will be Turn the page and I animet   and the end will be Disappearance Monica, in the world here But in this my kingdom forever I will live From a cover I will smile   I’m  not gypsy, not even Queen but inside me I remained a child Gypsy violins do not sound I miss the affection of my tribe   and I go back to that time when everything was empty dream and fly was my only game I'm not so bad in the world here in the shoes I wear in my reality   dance gypsy cries inside of me It is a fire that melts this cold there is freedom it is desire to live It is  dances gypsy and I’m the queen I tread with joy my but and my if The inadequacy I do not know what And yet I know that thrill try The apparent death, far and distant   The dance gypsy , here,under the moon Ancient ritual that brings good luck You will be welcome in my tribe In this my book, the end  can  write to you ...                                                                 Monica Bergo

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1033890 Composed by Jaromir Vejvoda. Arranged by F. Leslie Smith. Holiday,Pop,Wedding. Score and parts. 41 pages. Sweetwater Brass Press #639202. Published by Sweetwater Brass Press (A0.1033890).      Jaromir Vejvoda, born in 1902 in the Czech city of Zbraslav, was a fiddler and flugelhorn player. As a young man, he began writing music while working as a bartender. In 1927 he composed a particularly rollicking, toe-tapping tune. He persuaded the Czech-American composer Eduard Ingriš to write an arrangement for the piece, and the result was titled "ModÅ™anská polka" (ModÅ™any being the Prague suburb in which it was first performed). In 1934 Václav Zeman added lyrics, and the title changed to "Škoda lásky," Czech for “Wasted Love.” It also became known as “Rosamunde.” The public loved it. It was so successful that Vejvoda was able to quit tending bar and turn full time to music. The polka soon spread to other countries. Lew Brown and Wladimir Timm added English lyrics, and when the Andrews Sisters recorded it in 1939 as “Beer Barrel Polka,” it became one of their biggest hits. During World War II it was the favorite song of the Western Allies and has since been played and recorded by literally dozens of artists.      Suggested tempo for this brass quintet “Škoda lásky” is 120 BPM. It opens in C major, changes to F major, then back to C. All five instruments get a chance to shine. There are no really tricky rhythmic patterns, and the notes are, for the most part, within the normal playing range of each instrument. Some possible exceptions: Trombone’s highest notes are F above the staff; it’s lowest, G at the bottom; Tuba’s highest notes are F in the staff; Trumpet 2’s highest are its G at the top of its staff.      Completed in 2022, performance time runs about 3 minutes. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge. He would also like to receive your suggestions, comments, corrections and criticisms. Contact him directly at lessmith61@bellsouth.net. For more arrangements by Les, enter "Sweetwater Brass Press" (without the quotation marks) in the 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.)

Piano Solo - Level 4 - Digital Download SKU: A0.1030831 Composed by Michael C. Brown. 20th Century,Romantic Period. Score. 23 pages. Michael C. Brown #4051. Published by Michael C. Brown (A0.1030831). This piece celebrates the life and mourns the loss of my granddaughter, Paisley Gladys Hogan, who was but 2 months old when she was called to Heaven. These are the words I wrote just before her funeral.... I. The Presence - She was here. I held her the day she was born. I held her and watched her smile at me less than 24 hours before she departed. She only knew love. No one around her ever showed her anything else that humanity had to offer; like hatred, heartache, pain, control, or anger. II. The Shock - She feels a Hand beckon her to leave her mortal coil, and she enters into a world we cannot yet reach.. With no one home, her former body ceases to wake. The unimaginable has happened and we struggle to reverse it. Finally, it becomes clear that we cannot. She sees us cry and she wonders what is happening. Having never known sorrow, she only sees that love didn't cause this response. She wants to comfort us with the love she knows, but we do not yet sense it. III. The Questions - One word has confounded mankind from its creation; Why? We have never found an acceptable answer. We ask, Why did this happen? and What did I do? and What didn't we do right? and Why couldn't it have been me? among others. We only know that her absence has carved holes in our hearts shaped like her. She tries to tell us, You can still love me. I just cannot be seen by you now. It does not mean your love cannot make me happy. I still want it. I still feel it. Please feel my love for you. IV. Letting Go - The day comes to bid farewell to the vehicle by which she came to us. We struggle to cope that we will see her face no more except in pictures. Because of the brevity of her life, memories are few to relive, but to do so is to recall happiness. In sorrow, we return her to the earth. All that is left is to return to recall, to talk to her, to bring flowers and other gifts, and to await the day we follow her. V. Remembering - The days and years follow. Normalcy slowly sets back into our lives. The holes in our hearts will never fully heal. But the salve of her love and her memory help to soothe the ache. We still return to where we placed her mortal home, where we laugh and cry in tandem, where our hearts ache to fill the void left by her departure. It will never really get better, but it will become easier for her love to dull the sting of her absence. VI. The Reunion - One by one, we will feel the same Hand bid us to come. The same events will befall those left behind each time. One by one, she will greet us as we reunite with her. We marvel at how she has stayed with us as we stay to comfort those we had just bidden farewell. The rest cannot be imagined by we that remain..........

Guitar - Level 3 - Digital Download SKU: A0.973000 Composed by Steve Martin. Rainy Night Music. 20th Century,Contemporary,Standards. Guitar Tab. 8 pages. Steve Martin, Rainy Night Music #6436833. Published by Steve Martin, Rainy Night Music (A0.973000). This is the lullaby that I wrote for my first-born niece when she was a baby. It was composed specifically for guitar, and this copy comes complete with guitar tab as well as traditional notation. I've used an interesting tuning combination for the piece, which is why it also comes with tab, to make everything clearer. Both of the E strings are tuned up by 1 semitone to F, and the B string is de-tuned by 1 semitone to Bb. The resulting sound is pleasant, and unlike most other music out there on the classical guitar market, making it a lovely little piece to learn - and of course to serenade an infant with! It's approximately Grade 4 in standard (ABRSM), so the tuning doesn't make the piece any more difficult to play, and of course, the tab is there to make it crystal clear during the learning process how it is to be played. I hope you enjoy playing it as much as I did writing it. Please do take a look at another of my classical guitar compositions, Summer Sunset, which would work really well with Holly's Lullaby as a pair. Thank you for your interest in my music.  .

Large Ensemble Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.889436 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Contemporary,Easter,Standards. Score and parts. 11 pages. Luis Anjos Teixeira #4737807. Published by Luis Anjos Teixeira (A0.889436). The cantata „Gottes Zeit ist die allerbeste Zeit, BWV 106- „God`s Time Is The Very Best Time, ranks among Bach's most important works. It is a work of genius such as even great masters seldom achieve. The Actus tragicus belongs to the great musical literature of the world. Although Bach's manuscript is lost, the work is agreed to be one of the earliest Bach cantatas, probably composed during the year he spent in Mühlhausen 1707/1708 as organist of theDivi Blasil church, at the age of 22. Various funerals known to have taken place at this time have been proposed as the occasion for the composition, for example that of his uncle Tobias Lämmerhirt from his mother's family, who died inErfurt on 10 August 1707, and that of Adolph Strecker, a former mayor of Mühlhausen, whose funeral was 16 September 1708. The earliest surviving manuscript, in the hand of Christian Friedrich Penzel, was copied in 1768 after Bach's death. It introduced the title Actus tragicus. The cantata was published in 1876 as part of the first complete edition of Bach's works: the Bach-Gesellschaft-Ausgabe,  edited by Wilhelm Rust.  The text consists of different Bible passages from the Old and New Testament, as well as individual verses of hymns by Martin Lither and Adam Reusner, which all together refer to finiteness, preparation for death and dying.  The Arrangement is relatively easy to perform, also appropriate for beginners.  It is an ideal piece for advanced performers, this music touches deep into the Soul. The piece was arranged for modern instruments, I introduced some embellishments and interpretation symbols thus shortening the length of some notes, but no notes where otherwise changed or omitted in this arrangement. Also the original placement of the voices is totally respected, the structure of the piece was simply left as it was composed in its original form. Bach scored the instrumental parts for a small ensemble of Baroque instruments two recorders, two violas da gamba and continuo. I propose an interpretation for a modern string orquestra or a string quintet in this arrangement. You should feel Free to apply in this piece the Art and technic that expresses entirely your individual skills, Your taste and Soul. If the orquestra only has one double bass I would recommend you to reenforce the bass with a cello. It can be very well performed by a „string quintet- a string quartet with a double bass. Have fun! It is a piece that can be used in many different kinds of situations, in a serious concert hall, or a funeral, in Easter or even Christmas celebrations and all other kinds of Spiritual events. When performed Live It will give you back a great  feedback from the public, you will always want to have it in your repertoire. The score was written on Finale. The sound file was produced with samplers from Garritan and conceived merely as an audio support for the presentation of this score. 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! Luis Anjos Teixeira Thanks to Claudia Eppelt for the all the Love, the wonderful painting and cover design. Special Thanks to Johann Sebastian Bach, Stray Dog Nina, Stray Queen Mimi, Carlinhos, Maria Pontinha, Maria Joaninha, Schwarzenegger, Maria Koboldinha.  For all Living beings on Earth, for all our Ancestors,  Thank You for all of You  All Your Love and Compassion. Love Forever. Luis Anjos Teixeira

Piano Solo - Level 4 - Digital Download SKU: A0.1311573 By Martycli Piano Guy. By Martyn Clive Johnson. Arranged by Martyn Clive Johnson. 20th Century,Blues,Comedy,Instructional,Jazz. Score. 8 pages. Martyn Johnson #900580. Published by Martyn Johnson (A0.1311573). This is a Blues/Boogie Woogie Piano piece. It's a fun piece with loads of blues riffs running into each other. I wrote it as a sort of etude to collate a lot of blues licks and get them all under my fingers but it is still quite a catchy composition with strong melodic content.There is a key change somewhere in the middle from C to Db which perhaps complicates it a little but I think it gives it a real lift and stops any blues fatigue setting in!It's a fun piece which I hope you enjoy learning and playing.NB. Please note the sheet music is a piano solo and doesn't include notation for the other instruments, bass, drums etc that feature in my YouTube video. It was written as a piano solo, however, and sounds great when played as such.

Piano Solo - Level 4 - Digital Download SKU: A0.1047338 By Blaze Scheuerman. By Blaze Scheuerman. 20th Century,Classical,Contemporary,Romantic Period. Score. 10 pages. Blaze Scheuerman #651896. Published by Blaze Scheuerman (A0.1047338). The Doomsday Clock is a piece that primarily shows anxiety and being overwhelmed. I composed this piece my senior year of high school. At the time I could feel the impending deadline of college piano auditions approaching, and this coupled with a hand injury caused me to be very stressed out and feel that I was unable to put in the time needed to practice and prepare. I chose the name “Doomsday Clock� as I felt that the event that was slowly creeping closer was actually going to be the destruction of my dreams. The intro starts up bleak as the main character feels lost and afraid. The baseline hints at something to come that keeps inching closer and closer. Then at measure 8 it hits him, the thing to come is inevitable and can’t be stopped. He tries to reason with it, but it does not budge. This forces him to go into a mad scuffle in order to keep up and be ahead, as seen in measure 13. What then proceeds is a series of highs and lows, such as in measure 24 where the main character is terrified of what is to come and in measure 33 where he begins to believe he can do it. The piece then modulates to C major, where the main character feels that he is ahead and going to be successful. But every time he states a confident line, it seems to deteriorate or break down. Eventually he leads back into the mad scuffle and reaches his lowest point in measure 74. Here he feels lost and is about to give up when something encourages him to keep on going. It manifests a childlike voice reminding him of why he started this journey in the first place, and it convinces him to not give up and instead keep on going (seen in the Eb major section in the style of the intro). He eventually reaches the end and makes it, almost collapsing at the finish.

Solo Guitar - Level 4 - Digital Download SKU: A0.899135 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie Creek Music #3874077. Published by Maggie Creek Music (A0.899135). For solo classical guitar; 3 ppAlban Berg 1885 -1935 Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality.   As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.

Piano Solo - Level 4 - Digital Download SKU: A0.876869 Composed by Rhonda Bradley. 20th Century,Contemporary. Score. 6 pages. Miss Rhonda’s Piano Music #2929299. Published by Miss Rhonda’s Piano Music (A0.876869). Dance in A minor Intermediate Piano Solo by Rhonda Bradley4 pages of music + cover + letter from the authorYou'll love the feel of your fingers flying across the keys while performing this crowd-pleaser that never fails to get attention from listeners! It's a lively piece with a strong melody set upon a backdrop of minor tones that add a touch of sophistication. This is an intermediate piece that sounds more advanced than what it is. You'll want to make this one a permanent in your repertoire because it can also be played professionally.Teachers love this song because it's a great opportunity to practice mastery of phrasing (it's packed with staccato and legato). Luckily, it's built on simple repetitive patterns that make it easy to read and learn.  When the student prepares the piece properly it's one they'll be so proud to play for years to come.Dance in A minor is also great for professional piano repertoire because its' sophisticated sounds never fail to please an audience wanting something upbeat and lively.

Instrumental Duet Instrumental Duet - Digital Download SKU: A0.997508 Composed by Henry Fillmore. Arranged by Ethan Owens, Owen Ashbeck. 20th Century,Jazz. Score and parts. 2 pages. Ethan Owens #6687591. Published by Ethan Owens (A0.997508). A trombone duet arrangement of Lassus Trombone. DISCLAIMER: This piece is said to have racist origins, and it absolutely does. When Henry Fillmore originally put out the piece, he did in fact publish it with racist depictions of African-American trombonists. However, it is my opinion that the music itself is not racist. After all, it is an instrumental piece. It does not have racist lyrics like minstrel songs do, nor is it published anymore with racist depictions of people. And additionally, American music started with racism. It started with minstrel shows and blackface. That is how American musical culture was formed, and you can find songs with much worse backgrounds than this one that are still performed today. Even the Christmas tune Jingle Bells was originally a minstrel song, and that is still performed. Simply erasing this music won't do anything. That's my opinion. If you disagree, don't play it.