Woodwind Ensemble - Level 5 - Digital Download SKU: A0.1028053 Composed by Sarah Hersh. 20th Century,Contemporary. 14 pages. Burbury Lane Music #4276953. Published by Burbury Lane Music (A0.1028053). No clarinet duet has made me stop in rehearsal and just smile so much from how cool things sounded. - Marcus Moore, clarinetist on Duo MpingoDuo Mpingo is an approximately 6 minute crowd pleaser that is perfect for any occasion. It is a modern but accessible piece that is loosely based on the lifecycle of a mpingo, or African blackwood, tree. It is a relatively advanced piece but could be performed by advanced level students. Duo Mpingo can be programmed equally well on environmental-themed or any other type of concert.Program Note: When I began to research the mpingo (African blackwood) tree in preparation for writing this piece, I came to learn that it is a fascinating tree. It has the ability to survive fires, it does not reach maturity for about 70 – 100 years, and it improves soil fertility. However, it is endangered in several African countries due to illegal logging and over-harvesting, in part because of its beautiful dark heartwood. The outside of the mpingo tree looks like any other tree with a light brown color; the inside, however, is a gorgeous, dark brown-black color – a color you have seen if you’ve ever seen a clarinet, as clarinets, along with other western instruments, are made out of the dark heartwood of the mpingo tree. I had never stopped to think about why wooden clarinets have such a dark color instead of what one typically thinks of as a wood color. I was astonished by the hidden beauty of this tree and what secrets lay inside.Duo Mpingo is somewhat programmatic in that it loosely chronicles the imagined life of a mpingo tree. There is a short section close to the middle of the piece (the inner part of the piece, if you will) that is meant to evoke the beautiful, mysterious, endangered dark heartwood of the mpingo tree. The direction to the performers for this section is solemn, prayer-like, reverential, which is how I feel we should look at every tree – not as something in our way that needs to be cut down, but with reverence for the amazing living things they are.Duo Mpingo was commissioned and premiered by Daraja Music Initiative and Clarinets for Conservation to promote a sustainable planet. This recording is by members of Terminus Ensemble, Marcus Moore and Lauren Murphy. To hear the entire piece, please visit www.sarahhersh.com.The composer is a member of ASCAP and may be reached at www.sarahhersh.com or sarahhershcomposer@gmail.com.

Instrumental Duet Guitar,Instrumental Duet,Voice - Level 4 - Digital Download SKU: A0.923852 By George Shearing. By Hoagy Carmichael. Arranged by Steve William Lussing. Jazz. Score and parts. 5 pages. S. W. Lussing #3126013. Published by S. W. Lussing (A0.923852). Many venerable songs were written in the age before computers and midi synthesizers. A musical score or lead sheet was intended to be interpreted for style and tempo, and while some of those interpretations may not necessarily have been wrong, quite often they weren't always what the author intended, but face it, it's just plain hard to write music exactly in the way that the song is intended to be sung. Enter the computer age, and the ability for performers to understand that the interval of a note is an absolute time interval which puts the natural rhythm, or beat, of a musical arrangement at about 25% faster than a beat per second, which is why I arrange music to be performed at ~ 80 BPM, which means, approximately 80 beats per minute. That is not etched in stone, but it does represent the comfort zone to which the performer should subscribe when singing or playing a song. Contemporary jazz singers are, in my opinion, therefore obligated to re-arrange the songs that they intend to record, to avoid the embarrassment of getting it wrong. It happens. Timing is of the essence.  Many of those old jazz classics are well served with a rewrite for the contemporary artist.The Nearness of You was written in 1938 by Hoagy Carmichael, with lyrics by Ned Washington, and was performed in the 1938 Paramount movie, Romance in the Dark, by Gladys Swarthout of the Metropolitan Opera.  It has been recorded numerous times over the years, and it maintains its popularity today.  The guitar chording for this arrangement is targeted toward the experienced and more advanced players, but I encourage the experienced intermediate level player to take up the challenge of learning to play this song.  It will be a rewarding experience.

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.

Concert Band - Level 2 - Digital Download SKU: A0.496549 Composed by John R. Daniels. Folk,Traditional. Score and parts. 43 pages. John R. Daniels #110708. Published by John R. Daniels (A0.496549). A delightful little waltz that sounds a bit off kilter because it has seven-measure phrases. To balance that, there are also two countermelodies presented, with the final A section featuring the main melody and both countermelodies in a grand calliope sound. The Cantummit Waltz is called that because I found it hard to hum a few bars when asked to do so by some people who were helping me name it. So they suggested that I call it the I Can't Hum It Waltz. Can't Hum It became Cantummit. IF YOU WOULD LIKE YOUR ENSEMBLE TO GAIN MORE MEDIA EXPOSURE, please record your performance of this piece and email it to CustomMusic@Salt-Cellar-Creations.com. It will be included in my social media postings and website samples with any contact info you may want to provide. If you need help with recording technique or email transfer, etc. please contact me. For more information about the composer / arranger and other services, go to www.Salt-Cellar-Creations.com.

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 3 - Digital Download SKU: A0.1042210 By Piotr Ilitch Tchaikovski. By Piotr Ilitch Tchaikovski. Arranged by Stepan Esipoff Edited. Contest,Festival,Film/TV,Instructional,Romantic Period,Wedding. Score. 8 pages. Flavio Regis Cunha #647014. Published by Flavio Regis Cunha (A0.1042210). The Dance of the Sugar Plum Fairy is a dance for a ballerina. It is the third movement in The Nutcracker pas de deux. This pas de deux is from Act 2 of the 1892 ballet The Nutcracker. It is danced by the principal female dancer. The number was choreographed by Lev Ivanov to music written by Tchaikovsky. Choreographer Marius Petipa wanted the Sugar Plum Fairy's music to sound like drops of water shooting from a fountain. Tchaikovsky found the ideal instrument to do this job in Paris in 1891. It was then that he came across the recently invented celesta. This instrument looked like a piano. It sounded like bells. Tchaikovsky wrote, [The celesta is] midway between a tiny piano and a Glockenspiel, with a divinely wonderful sound. He wanted to use the celesta in The Nutcracker. He asked his publisher to buy one. He wanted to keep the purchase a secret. He did not want other Russian composers to get wind of it and ... use it for unusual effects before me. Tchaikovsky introduced the celesta to Russian music lovers on 19 March 1892 when the Nutcracker Suite was performed for the Russian Musical Society in St. Petersburg. The instrument is forever identified with the Sugar Plum Fairy. It is heard in other parts of Act 2 of The Nutcracker besides the Sugar Plum Fairy's dance.[3] The Dance of the Sugar Plum Fairy is one of the ballet's best known musical numbers. It is often jazzed up for television commercials at Christmas time. This arrangement was written by Stepan Esipoff and Edited by FLAVIO REGIS CUNHA. Intermediate level Format: Concert 9 x 12 inches. 8 pages.

Piano Solo - Level 4 - Digital Download SKU: A0.1295715 Composed by Donald Ashwander. Ragtime. Score. 6 pages. The Donald Ashwander Estate #886012. Published by The Donald Ashwander Estate (A0.1295715). Perdido Bay Moon Rag is a heartfelt and evocative solo piano composition dedicated to the memory of an elegant lady whose love for dance and a chance suggestion led to the creation of this beautiful piece. The composition pays homage to the serene beauty and cherished memories of Bear Point, Alabama, a place rich in history and personal significance to the composer, Donald Ashwander.The story behind Perdido Bay Moon Rag begins on a summer day when Donald, along with friends Edith and Edwin Zelnicker, found themselves on the picturesque Bear Point, Alabama. This tranquil peninsula on the shores of Perdido Bay held a special place in their hearts, as it was a locale where they had spent countless hours as children. They reminisced about their youth, playing beneath the majestic magnolia trees adorned with Spanish Moss and exploring ancient Indian mounds in search of pottery shards.It was during this nostalgic conversation that Edith, the elegant lady in question, suggested the title for a piano composition: Perdido Bay Moon Rag. Enchanted by the idea, Donald was determined to bring this vision to life. Upon returning to New York, he began crafting the piece, but it somehow eluded his grasp. Despite this initial challenge, he designed an appropriate cover for the composition and sent it to Edith and Edwin in Mobile.Over the years, Perdido Bay Moon Rag remained a fixture on Edith and Edwin's piano, a symbol of a cherished memory and unfulfilled promise. Edith confessed to her friend that she had attempted to play the piece but found it too complex, and so it remained unplayed.Time passed, and sadly, Edith fell ill. On a poignant visit to Mobile after Edith's passing, the atmosphere in their home was filled with her spirit. There, prominently displayed on the piano, lay Perdido Bay Moon Rag. In that moment, Donald knew that he needed to fulfill his promise and honor Edith's memory properly.With newfound determination and inspiration, Donald embarked on a journey to create a completely new composition that would capture the essence of Bear Point, Perdido Bay, and the moonlit nights they had cherished. This time, the music flowed effortlessly from his fingertips, as if guided by the memories and love he held for his dear friend.Perdido Bay Moon Rag is a testament to the enduring power of memories, friendship, and the creative process. It reflects the tranquility of Bear Point, the gentle sway of Spanish Moss, and the serenity of moonlit nights on the bay. Through its delicate melodies and intricate rhythms, the composition invites listeners to share in the deep emotions and fond recollections that inspired its creation.The final page of the sheet music contains special program notes by Donald Ashwander.

Small Ensemble Choir,Voice - Digital Download SKU: A0.961991 Composed by Ma Shui Long 馬水�. Contemporary. Score and parts. 47 pages. SpringAutumnmusic #47107. Published by SpringAutumnmusic (A0.961991). 《無形的神殿》，管弦樂與男�大�唱 　 　　2003年11月間一個美好的機緣，�與文化總會中部辦公室路寒袖先生所推展的「玉山學�，造訪了��精神�地，體驗群嶽之冠「玉山�的雄�與寬容。誠如作家路寒袖先生所言：「無論登頂與�，既入山中，�為山所包容�。的確，登山�僅是觀賞美景讚嘆山的壯麗與險峻，而更��的在空�的山中隱�禪機，讓我們學習到真正的謙�。當作曲者親臨時刻，心中�一片茫然而無語，瞬間，想起詩人��賢先生一首詩作「無形的神殿�言： 　　我高高在上 　　�在乎看得� 　　�方茫茫 　　什麼也看�見 　　我堅�冷 　　�我內部岩層的 　　 世界，我�立 　　在喧囂的紅塵外 　　熱氣騰騰的人 　　來我這裡無形的神殿 　　回到世間還是熱氣騰騰 　 　什麼也沒體會 　　作曲者經詩人��賢先生的��，借用詩�「無形的神殿�作為本曲之標題，譜寫作曲者親臨拜訪「玉山�，心中的悸動與感�。本曲創作素�中，亦引用幾首鄒�與布農�原�民之歌，在男生大�唱與管弦樂交織中，分為(一)夜話排雲(二)日出(三)祭神等三大部份，以連樂章形�呈�。 ※(1)本曲為邱�興文教基金會委託創作之作�，完�於2005~2006年，2007年12月中旬分別於�中國立��交響樂團演�廳�高雄市文化中心至德堂��北國家音樂廳，指�家邱�強指�國立��交響樂團��北愛樂�唱團��舉行世界首演。 (2)鄒�與布農�之歌旋律，資料來自於雲門舞集�浩�出版社（高山的禮讚）所出版之CD，並由我的作曲學生蔡欣微�寫整��供，在此一併表示感�之�。 The Invisible Temple - for male chorus and orchestra 　　 In November 2003, by a chance of attending the Yushan Studies offered by Mr. Han-Hsu Lu at the General Association of Culture, the composer then visited the highest mountain and also the Holy spirit land of Taiwan, Yushan, and experienced its sublime grandeur. Just as Mr. Lu has said: No matter whether you climb to the top of the mountain or not, we are all embraced by it. It is true that we admire it not only for its great majesty and steep scenery, but, more importantly, for the spiritual meaning behind it, from which we learn humility. When visiting the mountain, the composer was moved to be lost and speechless, and soon reminded of the poem by the poet Kuei-Shien Lee, The Invisible Temple, as follows: I stand high, having no fear of seeing very far. It is blurry far away from here, and nothing can’t be seen. I insist on coldness, silencing the world in my inner rock strata. I am independent of the uproarious world of mortals. Those who are frantic come here, the invisible temple. Still frantic, they return to the world, without appreciating anything. With Lee’s consent, the title of the poem was applied to this work, to represent the composer’s feelings of visiting the Yu-shan Mountain. In this work, several songs from the aboriginal Tsou and Bunun tribes are adopted for the large male chorus and orchestra. It comprises three parts: 1. The talk in the night staying at the Inn Paiyun, 2. The Sunrise, and 3. The Worship, which are to be performed attacca (without pause or interruption). P.S. 1. The work was commissioned by Chew’s Culture Foundation, and was composed in 2005-2006. In December 2007, it was premiered by Chun-Chiang Chiu conducting the Taiwan National Symphony Orchestra and the Taipei Philharmonic Chorus at the Kaohsiung City Cultural Center and the National Concert Hall in Taipei, respectively. 2. The source of the folk melodies of Tsou and Bunun tribes is from the CD released by the Cloud Gate Dance Theatre of Taiwan and.

Piano,Soprano Flute - Level 4 - Digital Download SKU: A0.1437014 By Joe Hisaishi. By Jou Hisaishi. Arranged by Eileen Gilligan. 21st Century,Classical,Film/TV,Instructional,Pop. Score and part. 18 pages. The Flautist #1017082. Published by The Flautist (A0.1437014). The Rain , can be played down the octave ,is an extension exercise to the pitch bend low note chromatic exercise in the Foundation Tools section of The Flautist. The low register of the flute can deliver some beautiful warm deep tone if worked on correctly and controlled. It requires relaxation, flexibility and control. It is an excellent opportunity to find the speaking point of the flute, hold it and carry it through a melody.The melody covers the low to middle register perfectly, demanding an expressive, warm and projective tone.Exercises in order to get the most out of this melody: All of them are in the Foundation Tools section of the website.Whistle tones over the full three registers of the flute, concentrate on the lower fingerings as they are the hardest, if having trouble relax the lips and make sure the airstream is centred.Pitch bend over the full three registers of the flute. Can use arpeggio pattern to do this or chromatic pattern.Pitch bend low note chromatic exercise coming up to the most centred warm tone from the bend and carrying it through down to low C or BHarmonics over the full range and vocalised harmonics. Make sure to test them against the actual note, they must be exactly the same pitch. Aim to get a beautiful tone and singing style when playing harmonics, they can be really beautiful quality wise.If feeling super inspired sing the low register chromatically into the flute whilst fingering it.Do a lot of legato slurred work to warm up before commencing articulation.Air is king and controlling it is the key to everything. If the air speed is not controlled between notes life becomes hard.Keep your tongue low and out of the way of the air stream, never block the air. That is why I use da for tonguing.

Piano,Trombone - Level 3 - Digital Download SKU: A0.587630 Composed by Various. Arranged by David McKeown. Baroque,Concert,Romantic Period,Standards,Wedding. Score and part. 24 pages. David McKeown #4594699. Published by David McKeown (A0.587630). The Wedding Album is a collection of four beautiful and timeless wedding favourites, arranged for Solo Trombone with Piano accompaniment. Whether for that Special Day, for a recital, or for your own entertainment, these arrangements are ideal for players at an intermediate level or higher. The 24-page file includes the piano accompaniments and the separate solo parts at the end. Ave Maria was written by Franz Schubert in 1825 as the sixth song in his song cycle based on Walter Scott’s poem The Lady of the Lake. It is perhaps the best known of all his melodies, adapted for piano by Franz Liszt, and for orchestra many times since. It is often sung with the Latin lyrics of the Catholic hymn of the same name and has been heard everywhere from the Disney movie Fantasia to the funeral of J.F. Kennedy. The Bridal March was written by Richard Wagner in 1850, scored for orchestra and chorus, and opening the third act of his opera, Lohingren. It is best known in the English-speaking world as Here Comes the Bride. Queen Victoria’s daughter used the music for her marriage in 1858, and its popularity has endured ever since.The Prince of Denmark’s March is better known nowadays as the Trumpet Voluntary and is often used in wedding ceremonies. It was in fact written for organ, with the melody played on thetrumpet stop.  Written around 1700, for many years this piece was mistakenly attributed to Henry Purcell. Only recently has it been established that the composer was Jeremiah Clarke, organist at St Paul’s Cathedral. It is somewhat ironic that this composer of a wedding mainstay was himself a victim of unrequited love. He consequently shot himself in the cathedral graveyard. Felix Mendelssohn’s Wedding March was originally written in 1842 as incidental music to Shakespeare’s famousplay, Midsummer Night’s Dream. When Queen Victoria’s daughter used the music for her marriage in 1858, it became instantly popular and has remained a wedding favourite ever since.These four arrangements are also available as single titles for $3.99 each. You can find these along with many more top quality arrangements and compositions by David McKeown at http://www.sheetmusicplus.com/publishers/david-mckeown/6203 

Harp - Level 3 - Digital Download SKU: A0.912196 Composed by Turlough O'carolan. Arranged by Harpoline. Celtic,Folk,Irish. Score. 2 pages. Harpoline #4888301. Published by Harpoline (A0.912196). This is an Irish traditional tune. It is claimed O'Carolan wrote it but it is based on an old Irish air so it may not have been just him who wrote it. I have played this tune in many different arrangements and keys but I quite like this one. It has suggested fingering written in. This tune can be learned by any harpist of intermediate standard with a lever harp . From grade 3 upwards. If another key is desired I can upload it as well. When I upload more tunes I fully intend to sell 3 tunes for the price of 2 if that is possible. This tune can also be played on the piano with different fingering.

Brass Ensemble - Level 4 - Digital Download SKU: A0.927013 Composed by Charles Johnson. Arranged by Dr. Jim Fox, ASCAP. 20th Century,Traditional. Score and parts. 25 pages. All Brass Radio Publishing #3050619. Published by All Brass Radio Publishing (A0.927013). In the early 20th century, the rag was king.  Charles Johnson wrote this wonder of a Two-Step Rag and called it Dill Pickles.  Like almost rags, it is lively and fun.  People would enjoy listening to rag music while drinking Kellogs Cheerios Beer!This arrangement uses two trumpets, a french horn, a trombone (which several glissandos) and a tuba that occasionally has the melody.  The melody is passed from part to part, it has a false ending and a false key change.  It sounds like it is ending but, no, it is going on.  The false key change has bars that move to different keys but when done ends up in the same key.This is kind of handy as once each part has the fingerings for their part down, they can just keep on going.  It keeps the audience alive and is a fun addition for any quintet.

Piano,Trombone - Level 3 - Digital Download SKU: A0.587631 Composed by Various. Arranged by David McKeown. Baroque,Concert,Romantic Period,Standards,Wedding. Score and part. 24 pages. David McKeown #4594701. Published by David McKeown (A0.587631). The Wedding Album is a collection of four beautiful and timeless wedding favourites, arranged for Solo Trombone in Bb (Treble Clef) with Piano accompaniment. Whether for that Special Day, for a recital, or for your own entertainment, these arrangements are ideal for players at an intermediate level or higher. The 24-page file includes the piano accompaniments and the separate solo parts at the end. Ave Maria was written by Franz Schubert in 1825 as the sixth song in his song cycle based on Walter Scott’s poem The Lady of the Lake. It is perhaps the best known of all his melodies, adapted for piano by Franz Liszt, and for orchestra many times since. It is often sung with the Latin lyrics of the Catholic hymn of the same name and has been heard everywhere from the Disney movie Fantasia to the funeral of J.F. Kennedy. The Bridal March was written by Richard Wagner in 1850, scored for orchestra and chorus, and opening the third act of his opera, Lohingren. It is best known in the English-speaking world as Here Comes the Bride. Queen Victoria’s daughter used the music for her marriage in 1858, and its popularity has endured ever since.The Prince of Denmark’s March is better known nowadays as the Trumpet Voluntary and is often used in wedding ceremonies. It was in fact written for organ, with the melody played on thetrumpet stop.  Written around 1700, for many years this piece was mistakenly attributed to Henry Purcell. Only recently has it been established that the composer was Jeremiah Clarke, organist at St Paul’s Cathedral. It is somewhat ironic that this composer of a wedding mainstay was himself a victim of unrequited love. He consequently shot himself in the cathedral graveyard. Felix Mendelssohn’s Wedding March was originally written in 1842 as incidental music to Shakespeare’s famousplay, Midsummer Night’s Dream. When Queen Victoria’s daughter used the music for her marriage in 1858, it became instantly popular and has remained a wedding favourite ever since.These four arrangements are also available as single titles for $3.99 each. You can find these along with many more top quality arrangements and compositions by David McKeown at http://www.sheetmusicplus.com/publishers/david-mckeown/6203 

Piano Solo - Level 3 - Digital Download SKU: A0.1172232 By Sarah Bonsignore. By Sarah Bonsignore. Arranged by Sarah Bonsignore. 19th Century,20th Century,Classical,Contemporary,Romantic Period. Score. 11 pages. Sarah Bonsignore #772456. Published by Sarah Bonsignore (A0.1172232). Here is a brand new piece in five parts that has been haunting me for two days. It came to me at 3am yesterday and I went into my studio to notate it. It's a dreamy, soothing and sometimes soaring piece that reminded me of the octopus from the amazing documentary My Octopus Teacher. Part 1 is possibly more beginner intermediate, and I think some of the parts can be played as individual solos. I've included a link to the youtube demo on the score with an above hands view and a light up keyboard so that students can follow the score and listen.My husband and children loved this piece when they heard it, so I'm excited to have it published for others to learn and play. Part 3 was an idea from a piece I improvized in the Tottenham Court tube station a few years ago (yes, there was a piano in the tube station, and there should be a piano in every tube station as far as I'm concerned :) The theme I played that day never left me and it seemed to fit here. I wrote an expanded version of part 3 called Flight in D major that I hope to include on my website singplaystudios.com and here in a few weeks, so if you like part 3, I hope you'll check that piece out too. I plan to include this work in my 20 Beautiful Piano Solos book 3 (please find the first two books and many other repertoire and ear training books on Amazon). Thank you for considering learning this piece. It is very special to me, and you can read more about my inspiration and process at the youtube link.

French Horn,Piano - Level 3 - Digital Download SKU: A0.549653 Composed by Ludwig van Beethoven. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 16 pages. Jmsgu3 #3516943. Published by jmsgu3 (A0.549653). Duration: ca 5:20, Score: 8 pages, solo part: 3 pages, piano part: 4 pages. One of Beethoven's finest and most famous works. Program for a recital, church meditation or school program. Bring your best espressivo and plan to rehearse the many subtle dynamic changes.Sonata Pathétique Op. 13 First of all, this is an arrangement of the second movement of Beethoven’s Sonata Pathétique. It seems like Beethoven wrote this piece before becoming troubled by deafness. Published in 1799, it consequently remains one of the most celebrated pieces Beethoven ever wrote. As a result of its popularity, the movement was therefore performed by Karl Haas. Hass recorded it for a popular radio show called: Adventures in Good Music. Beethoven Background Ludwig van Beethoven (1770 –1827) was certainly a German pianist. Above all, he was probably one of the greatest composers in history. As a result, he is a pivotal character in the progress between the Classical and Romantic periods. He is certainly one of the most famous and hence important of all composers. Seems like his most familiar and noteworthy works include symphonies 1-9; piano concertos 1-5; and furthermore, the violin concerto. Also, certainly of extreme importance are the noteworthy 32 sonatas for the piano; the string quartets 1-16; the Missa solemnis; and likewise, his only opera, Fidelio. Beethoven Overview First of all, Beethoven was born and consequently raised in Bonn. Upon turning 21 he moved to Vienna probably to study composition with Haydn. That’s when he consequently grew a reputation as a brilliant pianist. Furthermore, he probably stayed in Vienna for the rest of his life. In his late 20s, it seems like his hearing certainly began to decline. It slowly declined until consequently, he was nearly totally deaf probably by the last decade of his life. As a result, he stopped conducting and performing. Nevertheless, he continued to compose. As a result, some of his greatest works probably come from this period. First Period Seems like we often divide Beethoven’s life into three periods. Period 1 begins with Beethoven’s arrival in Vienna. Hence, during this period, he mastered the Viennese style of Haydn & Mozart. He consequently began increasing the size and scale of his works. Furthermore, he experimented with extreme dynamics, and likewise extreme tempi. He worked similarly with chromatic harmony. His First and Second Symphonies, therefore, belong to this period. Other important works also belong here: the first six string quartets and the Sonata Pathétique, Op. 13. Second Period His second period probably began as soon as he realized that he was going deaf. During this period, it seems like he became obsessed with the idea of heroism. His works consequently become even larger and more massive. The most noteworthy of these include the symphonies 3 – 8, piano concertos 5& 6, 5 string quartets, several important piano sonatas (Waldstein and Appassionata), the Kreutzer violin sonata, the violin concerto and his only opera: Fidelio. Third Period In contrast, Beethoven's third period is branded above all by works of incredible intellectual depth, formal innovation, and penetrating expression. It seems like he continued to expand his works. Consequently, the string quartet Op. 131 spills over into seven connected movements. Likewise, in the Ninth Symphony, he adds choral forces to his orchestra probably for the first time in history. Even more, other works from this period include his Missa solemnis, the final 5 string quartets (including the enormous Große Fuge) and the final five sonatas for piano.     www.jamesguthrie.com.