Instrumental Duet Harpsichord,Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.958468 Composed by Joseph Dillon Ford. 20th Century. Score and parts. 3 pages. David Warin Solomons2 #3691563. Published by David Warin Solomons2 (A0.958468). The Fuga a tre voci was composed on 28 March 1976 not long before I moved from Miami to Cambridge to begin graduate study in music at Harvard. It remained an imperfect sketch in need of extensive revisions, and languished for a quarter-century in a manila file folder until I rediscovered it late in 2001 and was pleased to find that it was worth the trouble of resurrecting. This was no easy task, as it was my original intention to comply closely with eighteenth-century contrapuntal practices. Although I had written numerous polyphonic pieces in a similar style since 1976, none of these was a fugue. There was also the challenge of reconnecting with musical ideas I had originated at the age of twenty-four at a time in my life when I was rapidly approaching the age of fifty. Still, I persevered in my efforts to revive and improve this early polyphonic essay, and hope the performer and listener will be as pleased with the results as I am. This three-voice fugue can be performed by any instrument or combination of instruments, including the harpsichord.

Saxophone Quartet,Woodwind Ensemble - Level 1 - Digital Download SKU: A0.1183996 Composed by Richard Wagner. Arranged by Langanho. Classical,Opera,Romantic Period,Wedding. 6 pages. Avery Lynn Jordan #783694. Published by Avery Lynn Jordan (A0.1183996). This reduction was made for saxophone quartet and piano, with the intention of being totally practical for musicians of small groups who wish to use it especially at weddings, and not only, can be used for academic or performance purposes, because in it were extracted all the essence of the original work, however, being adapted to be easy to play, serving professional musicians or beginners. The Bridal Chorus by Richard Wagner was composed in 1850 as a prelude to the third act of the opera Lohengrin. It is played when Elsa and Lohengrin enter the bridal chamber to consummate their marriage. The wedding night turns tragic, and Wagner is said to have found it amusing that the piece was used at weddings.

Baritone Saxophone,Piano - Level 1 - Digital Download SKU: A0.548713 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and part. 4 pages. Jmsgu3 #3411737. Published by jmsgu3 (A0.548713). Out of the Depths I Cry to You by Martin Luther. The first verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Features the entire range of the instrument. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms. Score: 3 pg. Solo part: 1 pg. The piano reads from the score. Out of the Depths Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics, essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to the contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed pieces, such as Felix Mendelssohn and Max Reger. Luther Background Martin Luther, (1483 –1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music. Influence It is important to realize that other musicians, and their descendants, were encouraged by Luther’s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works. Legacy The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich Schütz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in Lübeck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.

Instrumental Duet Bassoon,Instrumental Duet - Level 1 - Digital Download SKU: A0.548710 Composed by Martin Luther. Arranged by James M. Guthrie. Easter,Instructional,Standards. Score and parts. 4 pages. Jmsgu3 #3411733. Published by jmsgu3 (A0.548710). Out of the Depths I Cry to You by Martin Luther arranged for bassoon & piano. The first verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Features the entire range of the instrument. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms. Score: 3 pg. Solo part: 1 pg. The piano reads from the score. Out of the Depths Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics, essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to the contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed pieces, such as Felix Mendelssohn and Max Reger. Luther Background Martin Luther, (1483 –1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music. Influence It is important to realize that other musicians, and their descendants, were encouraged by Luther’s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works. Legacy The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich Schütz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in Lübeck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.

Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.956294 Composed by Jennifer A. Henderson. Christian,Praise & Worship,Sacred. Octavo. 2 pages. ISFS Productions #6476031. Published by ISFS Productions (A0.956294). This is an original hymn I wrote. It was originally more complicated, but I was never able to finish it. Only when realized it was meant to be a simple hymn was I able to complete it. The first verse reads:

Instrumental Duet Guitar,High Voice,Instrumental Duet - Level 3 - Digital Download SKU: A0.1025005 Composed by Robert Dingus-DeVille. Country,Folk,Rock. Score and parts. 2 pages. Robert Dingus-DeVille #4338895. Published by Robert Dingus-DeVille (A0.1025005). This is an old-fashioned protest song that I wrote on Woody Guthrie's 100th birthday. Has it ever occurred to you that we're on board a giant, hideous beast that sustains itself by eating its own tail? Democrats say the Republicans are doing the eating and the Republicans claim it's the Democrats. Does it really make any difference? It's The System! When I wrote this Obama was President, but the first line holds true even now.

Large Ensemble Bass Guitar,Drums,Fiddle,Hand Percussion,High Voice,Medium Voice,Piano Accompaniment,Woodblock - Level 4 - Digital Download SKU: A0.1019369 Composed by Kevin Longley. A Cappella,Country,Gospel,Spiritual. Score and parts. 25 pages. Kevin Longley #6536615. Published by Kevin Longley (A0.1019369). I'll Never Be AloneInspiration My mothers life; her perseverance, her faith, her love, inspired this music and continues to inspire me to this day. The Music It had been many years since I had written any country music. Soon after my mothers passing I was in the kitchen late one night when the chorus, both words and music, came to me. I quickly scribbled it onto a piece of scrap paper and then set it on my desk. A year later I went back to it and wrote thIS song. The music opens with tenors singing in three part harmony, (ie the chorus), acappella. This is followed by the A section which tells the story of my mothers life; the hardships, the joys, her faith and how God was guiding her. The A section then alternates with the chorus until a C section, bridge is introduced, which is a look ahead to her existence in the heavenly place. The music then returns to the A section which tells of her passing and how her faith became mine.

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1253566 Composed by Jules Massenet. Arranged by Scott S. Stewart. 20th Century,A Cappella,Classical,Instructional,Opera. Octavo. 4 pages. Scott S. Stewart #847217. Published by Scott S. Stewart (A0.1253566). “Lorsque le temps d’amour a fui� (When the time of love has fled) is a simple, melancholic, ballad about how fleeting love is.  It is from the opera Don Quichotte (Don Quixote, 1910), music by Jules Massenet, libretto by Henri Cain.  It has been arranged for 4-part SATB ensemble to be performed a cappella. This arrangement of an operatic masterpiece was created to help make ‘Opera’ accessible to wider audiences for various reasons (instructive, educational purposes; and performance familiarity to/for a larger population).  The original melody and harmonies are used.  It retains the original French language text.  It is an excellent tool for introducing ‘Opera’ music in the classroom, and programming diversity in the concert hall.  Performance time: 2:05+-.

Brass Ensemble - Level 1 - Digital Download SKU: A0.1183938 Composed by Richard Wagner. Arranged by Langanho. Classical,Opera,Romantic Period,Wedding. Score and parts. 6 pages. Avery Lynn Jordan #783633. Published by Avery Lynn Jordan (A0.1183938). This reduction was made for brass quartet and piano, with the intention of being totally practical for musicians of small groups who wish to use it especially at weddings, and not only, can be used for academic or performance purposes, because in it were extracted all the essence of the original work, however, being adapted to be easy to play, serving professional musicians or beginners. The Bridal Chorus by Richard Wagner was composed in 1850 as a prelude to the third act of the opera Lohengrin. It is played when Elsa and Lohengrin enter the bridal chamber to consummate their marriage. The wedding night turns tragic, and Wagner is said to have found it amusing that the piece was used at weddings.

Instrumental Solo,Oboe d'Amore,Piano - Level 1 - Digital Download SKU: A0.548718 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and individual part. 4 pages. Jmsgu3 #3411751. Published by jmsgu3 (A0.548718). Out of the Depths I Cry to You by Martin Luther. The first verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Features the entire range of the instrument. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms. Score: 3 pg. Solo part: 1 pg. The piano reads from the score. Out of the Depths Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics, essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to the contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed pieces, such as Felix Mendelssohn and Max Reger. Luther Background Martin Luther, (1483 –1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music. Influence It is important to realize that other musicians, and their descendants, were encouraged by Luther’s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works. Legacy The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich Schütz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in Lübeck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.597574 By The Beatles. By John Lennon and Paul McCartney. Arranged by Flavio Regis Cunha. Contemporary. Octavo. 10 pages. Flavio Regis Cunha #6562161. Published by Flavio Regis Cunha (A0.597574). This is a BlackBird arrangement for SATB choir with piano accompaniment.  If you're a fan of the English band, we're sure you and your choir will like it.I had been doing poetry readings. I had been doing some in the last year or so because I've got a poetry book out called Blackbird Singing, and when I would read Blackbird, I would always try and think of some explanation to tell the people, 'cause there's not a lot you can do except just read the poem, you know, you read 10 poems that takes about 10 minutes, almost. It's like, you've got to, just, do a bit more than that. So, I was doing explanations, and I actually just remembered why I'd written Blackbird, you know, that I'd been, I was in Scotland playing on my guitar, and I remembered this whole idea of you were only waiting for this moment to arise was about, you know, the black people's struggle in the southern states, and I was using the symbolism of a blackbird. It's not really about a blackbird whose wings are broken, you know, it's a bit more symbolic. - Paul McCartney, Interview with KCRW's Chris Douridas, May 25, 2002 episode of New Ground (17:50 - 19:00)

Brass Ensemble - Level 1 - Digital Download SKU: A0.768557 Composed by Jim Evans. Concert,Standards. Score and parts. 160 pages. Beginning.band #5372703. Published by beginning.band (A0.768557). A collection of six duets and six trios written with the youngest players in mind!Ranges limited so that students can focus on rhythmic accuracy, tone quality, dynamics, and expression.Rhythms are limited to whole, dotted half, half, quarter, and paired eighth notes. Rhythms that even the youngest musicians can count! No syncopation!Each piece is about one minute in length to accommodate the limited stamina of younger players.A variety of styles and moods to motivate studentsEvery measure of each part is numbered! You're welcome! Duets may be performed by any two instruments, with like or mixed instrumentation, but if you use mixed instrumentation you may have better results if upper instruments play the top line and lower instruments play the bottom line. Also, it may be preferable to avoid having two tubas, as the results may be less desirable.Trios should be performed by two higher pitched instruments and one lower pitched instrument. Parts 1 and 2 could be flute, clarinet, alto sax, tenor sax, trumpet, or horn. Part 3 should be at least one octave lower, and should be bassoon, bass clarinet, baritone saxophone, trombone, baritone, or tuba.Books for Flute/Oboe, Bb treble, Eb treble, Tenor Saxophone, Horn, Bass Clef, Tuba, Bells/XylophoneNotesDuetsSneaking AroundMeter: 4/4Key: BbRange: A - GFocus: Staccato, Slur, Phrasing, Dynamic ContrastCountry DanceMeter: 3/4Key: BbRange: A - GFocus: Staccato, Triple Meter, PhrasingAll Aboard!Meter: 4/4Key: C minorRange: Bb - AbFocus: Staccato, Slur, Phrasing, Dynamic Contrast,Note: The second part on this piece may be especially challenging for young flute, oboe, and trombone players.Give and TakeMeter: 3/2Key: BbRange: Bb - FFocus: Interplay between voices, especially contrasting staccato and legato, Triple MeterNote: The meter signature of 3/2 allows for livelier rhythmic content without presenting sixteenth notes. Students should be able to read it in 6/4, then perform it in three when they get a feel for it.Night SongMeter: 4/4Key: EbRange: Ab - AbFocus: Legato, Phrasing, BalanceAdagiettoMeter: 3/4Key:EbRange: Ab - AbFocus: Legato, Phrasing, Balance, IndependenceTriosParlor DanceMeter: 4/4Key: BbRange: A - GFocus: Staccato, Slur, PhrasingBow and CurtsyMeter: 3/4Key: EbRange: Low A  GFocus: Pickups, Staccato, Triple MeterHopscotchMeter: 4/4Key: EbRange: Ab - AbFocus: Staccato, BalanceGalliardMeter: 3/4Key: BbRange: A - GFocus: Phrasing, BalanceOn a CarouselMeter: 4/4Key: EbRange: Ab - AbFocus: Pickups, IndependenceHymnMeter: 3/4Key:EbRange: Low G - AbFocus: Legato, Phrasing, Balance

Piano - Digital Download SKU: A0.1071369 Arranged by Chris Cooke. Christian,Gospel,Praise & Worship,Sacred. Accompaniment. Duration 7162. Chris Cooke #3004581. Published by Chris Cooke (A0.1071369). This is a recording of the printed piano accompaniment book. (Other Books also available are for flute, clarinet/trumpet, alto sax, French horn, and trombone.) These recordings may also be used for group singing. There is a short introduction, and enough repeats of the verses in case you would like to play or sing them all! While these recordings contain multiple verses, the print version contains only one verse with no introduction. Many hymns are in their original hymnal keys, but if not, they have been adjusted slightly for a better playing range.This is one large file, containing all 50 accompaniments, plus one bonus recording-a harpsichord version of the first piece. For this reason, the cue point is given which is the time in the recording when each hymn occurs so they can be located more easily within this one-hour and 59-minute MP3. For instance, And Can It Be would be found at the 6-minute and 12-second time point. The full list of hymns, with their concert keys, cue points, and length of introduction, is below:All Things Bright and Beautiful (alternate tune, Monk), C,harpsichord; 4-measure introAll Things Bright and Beautiful, piano, cue point: 0:3:06; 4-measure introAnd Can It Be, F; cue point: 0:06:12; 4-measure introAre You Washed in the Blood, G; cue point: 0:09:33; 4-measure introAt Calvary, C; cue point: 0:11:25; 4-measure introBe Thou My Vision, E-flat; cue point: 0:13:44; 4-measure introBlessed Be the Name, A-flat; cue point: 0:15:29; 4-measure introBreathe on Me, Breath of God, F; cue point: 0:17:47; 4-measure introCome, Christians Join to Sing, E-flat; cue point: 0:19:16; 4-measure introFaith is the Victory, E-flat; cue point: 0:21:02; 4-measure introGlory to His Name, G; cue point: 0:23:21; 4-measure introHe Keeps Me Singing, A-flat; cue point: 0:25:40; 4-measure introHeavenly Sunlight, F; cue point: 0:27:58; 4-measure introI Know Whom I Have Believed, A-flat; cue point: 0:29:39; 4-measure introI Love to Tell The Story, A-flat; cue point: 0:32:06; 4-measure introImortal, Invisible, God Only Wise, A-flat; cue point: 0:34:52; 4-measure introIt Is Mine, B-flat; cue point: 0:36:27; 4-measure introJesus Saves, G; cue point: 0:38:22; 4-measure introJoy Unspeakable and Full of Glory, A-flat; cue point: 0:40:22; 4-measure introJust as I am , E-flat; cue point: 0:42:41; 6-measure introLeaning on the Everlasting Arms, A-flat; cue point: 0:46:36; 4-measure introLike a River Glorious F; cue point: 0:48:23; 4-measure introLove Lifted Me, B-flat; cue point: 0:50:32; 4-measure introMy Faith Looks Up to Thee, D; cue point: 0:53:19; 4-measure introNothing But the Blood, A-flat; cue point: 0:55:32; 4-measure introOh How I Love Jesus, A-flat; cue point: 0:57:51; 4-measure introOn Jordan’s Stormy Banks, E-flat; cue point: 0:59:37; 4-measure introPraise Him! Praise Him! F; cue point: 1:01:56; 4-measure introRedeemed, How I Love to Proclaim It, A-flat; cue point: 1:04:14; 4-measure introRejoice, The Lord Is King! C; cue point: 1:05:49; 4-measure introRevive Us Again, F; cue point: 1:07:52; 4-measure introRock of Ages, B-flat; cue point: 1:09:36; 4-measure introSend the Light, F; cue point: 1:10:54; 4-measure introSince I Have Been Redeemed, F; cue point: 1:13:34; 4-measure introSince Jesus Came Into My Heart, G; cue point: 1:16:02; 4-measure introSoftly and Tenderly, F; cue point: 1:18:30; 4-measure introStand Up, Stand Up for Jesus, G; cue point: 1:22:29; 4-measure introStanding on the Promises, B-flat; cue point: 1:24:48; 4-measure introSunshine in My Soul, F; cue point: 1:27:06; 2-measure introThe Old Rugged Cross, B-flat; cue point: 1:29:21; 4-measure in.

Concert Band - Level 3 - Digital Download SKU: A0.750785 Composed by E. T. Paull (1908). Arranged by Brendan Elliget MAGA 537. Contemporary. Score and parts. 115 pages. BJE Music #3567783. Published by BJE Music (A0.750785). The Home Coming March (1908) - Concert Band Score and Parts PDF Music by: ET Paull Of course, eventually, all the soldiers and sailors had to eventually come home from all the battles and Paull had that eventuality well covered also. The artwork on the front cover (of unknown origin) is one that is full of imagery that covers all aspects of the services, Army and Navy and is full of patriotic and familial ideals. The border lists all of the US States and the corner pictures depict aspects of homecoming. The main image is a parade of victory. Let's let Paull explain it all to us as he did on the inside cover. Why This Piece Of Music Was Named The Home Coming March   Explanatory When the author had about completed the music of the present march, it occurred to him that it might be well to have suggestions made from a number of people, recommending a good name for same, for after all there is considerable in a name. He, therefore, had a special advertisement placed in several of the leading music Journals throughout the country, offering a prize of $10.00 in gold to anyone suggesting a name that would be accepted. Over three thousand names were sent in from all parts of the country, even from far away New Zealand and Australia, in which countries the author's marches are universal favorites. Included in the letters received was one from Mr. W. C. Bates, Secretary of the Sheffield Advertising Agency of New York and Chicago, in which he suggested the name The Home Coming March. After due consideration, this name was accepted, and the prize was awarded and paid to Mr. Bates, who stated that he was prompted to recommend this name on account of having been present during the impressive celebration of Old Home Week in Boston, Mass., last year. Probably no one idea is so universally dominant in the mind of the Human Race as that of home, or matters pertaining to home. The author believes that the name selected is one that will appeal to everyone; as the many pleasant associations with the words Home Coming are almost without limit. The title page of this march is without any exception the handsomest seen on a piece of music. The main body of the title pace represents a street scene, with buildings decorated and shows a handsome royal Arch of Welcome in the foreground, gaily decorated with flags, emblems, and bunting. A band is shown passing under the arch, leading a procession of the Home Guard, and thousands of people waving handkerchiefs, banners, flags, etc. Four smaller scenes also appear on the page, one representing the Home Coming of the soldier from war; another scene shows the Home Coming of the sailor boys embarking from their battleships; another scene represents the Home Coming reunion of the family and loved ones; the fourth scene represents the Home Coming of the father from work, where a little tot has been watching and waiting, and runs to meet him. The whole design of the title page is then surrounded by a border of differently designed medallions, on which appears the names of all the States of the Union, making without a doubt, the most unique and attractive title page ever conceived for a piece of music. One thing Paull mastered early in his career was the art of overstatement! Musically, this march is beginning to show the repetitiveness of many of Paull's works, especially evident as time passed. Once Paull found the formula (a fabulous cover and a playable, rousing march) that sold music, he stuck with it and was quite successful as a result.This arrangement is for Full Concert Band with the original optional piano part ( Not on the score).  There are parts for Trombones 1 and 2 in TC and BC as well as parts of Euphonium in TC and BC.  The MP3 was recorded with NotePerformer 3.Grade = 3.5  Duration =.

Choral Choir,Choral (SSAA) - Level 4 - Digital Download SKU: A0.1344227 By Grace Featuring G-eazy. By Grace. Arranged by Liz Garnett. A Cappella,Barbershop,Pop. 5 pages. Liz Garnett #929713. Published by Liz Garnett (A0.1344227). This is a song that, paradoxically, feels both evocative of a particular historical moment and timeless. In it's first guise, as sung by Lesley Gore in 1963, it is a harbinger of both the sexual revolution and Second Wave feminism. Three decades later, as the closing sequence to the movie The First Wives Club, it is full of  confidence and joie de vivre, but by 2016, when released by Grace, it has turned darker, as G-Eazy's rap dramatises the controlling man the song addresses.This arrangement positions the song as a statement of strength and defiance, and re-appropriates material from the rap to craft an original bridge.n.b. This arrangement is notated in treble and bass alta (i.e. sounding an octave higher than written) clefs.Vocal Ranges:Tenor: E flat 4 - F5Lead: G3 - D5Bari: G3 - C5Bass: D3 - F#4www.HelpingYouHarmonise.com