Instrumental Duet,Melodica - Level 3 - Digital Download SKU: A0.1317764 Composed by Stanley M Hoffman. Arranged by Stanley M Hoffman. Classical. 2 pages. Stanleymhoffman.com #906447. Published by stanleymhoffman.com (A0.1317764). I have long admired the music of the Argentinian Tango master, Astor Piazzolla. I already have a couple of Piazzolla homages in my oeuvre. This one pays homage to his skill as a contrapuntalist which itself is an homage to the music of Bach. I hope you enjoy it.

Piano Solo - Level 2 - Digital Download SKU: A0.1269111 By UDIT NARAYAN SADHANA SARGAM. By JATIN LALIT. Arranged by S RAJBALAN. Bollywood,Film/TV,Hindi,Instructional,Multicultural,World. Score. 8 pages. A.R.M. PUBLICATIONS #861648. Published by A.R.M. PUBLICATIONS (A0.1269111). Piano sheet music for the song PEHLA NASHA from the film JO JEETA WOH SIKKANDAR  in Western format. They are written for Treble and Base clef with lyrics and chords. It's an arrangement for beginners and intermediate students to play this beautiful song. The sample sheet music notes are provided on the site. Complete intros, Bgms, are provided in this sheet music and written in the original scale of the song.

Brass Quintet - Level 4 - Digital Download SKU: A0.1489523 Composed by Dr. Daniel N. Thrower. 21st Century,Chamber,Classical,Film/TV. 31 pages. Https://gildedmusicpress.com/ #1066386. Published by https://gildedmusicpress.com/ (A0.1489523). Dimension Traveler, Op. 150, for brass quintet was completed 26 Mar 2024.  When I wrote the first few distinctive notes into the computer, my ten-year-old son said that it sounded “futuristic.”  Somehow that sparked memories of a novel I had started years ago, titled “Dimension Traveler,” based on dimensional theories I had developed.  With that fresh inspiration in mind, the piece wrote itself with opening movie credits in mind.The form is thematically palindromic, the center point being m. 77.  The beginning to rehearsal letter A mirrors K to the end; A to B is parallel to J-K; B-C = I-J; C-D = H-I; D-E = G-H; and the central thematic sections E-F = F-G.  Concerning that central turning point, the thematic material shifts from the trumpets’ first statement at letter E to low brass with the trumpets taking on the pointillistic accompaniment at letter F.  Of interest is the parallel of C-D and H-I wherein the motivic material, including dynamics, is quite literally reversed note for note to a climax.For aural aesthetics in performance, there is an optional cut from letter K to m. 142.  Thematically, the structure remains chiastic, but taking the cut simply truncates the end for a motivic flavor rather than repeating the entire opening entrée.  There is nothing wrong with purists performing the work in its entirety—it is simply a matter of taste among the performing ensemble members.Stylistically, this piece strays far from my typical compositions.  Besides the pervasive echoing eighth-note motifs, the key never changes, and there is no chromaticism.  Inspired in that regard by the masterpiece “Quintet” by Michael Kamen, the diatonicism often flows in planed clusters mildly influenced by the choral works of Eric Whitacre.  Another deviation from my well-established compositional habits is the instrumentation including bass trombone instead of tuba.  Of course the part can be played by a tubist, though the bass trombone meshes more seamlessly with the timbres of the other instruments in passing along the pervasively echoing eighth-notes.The individual brass parts appear deceptively simple, and indeed, they are not technically demanding besides a couple high notes in the trumpets.  However, putting this piece together in an ensemble setting is rhythmically treacherous!The four-minute final product indeed sounds like it could be the opening to an epic movie of the same title, based on the novel-in-progress.

Oboe,Piano - Level 4 - Digital Download SKU: A0.1277703 By Pedro Dias. By Pedro Dias. Arranged by Pedro Dias. 21st Century,Chamber,Contemporary. Score and part. 20 pages. Pedro Dias #869378. Published by Pedro Dias (A0.1277703). Instrumentação: Oboé e Piano a 4 mãos (música de câmara). Nível: Intermediário/avançado.Tonalidade: Bbm (si bemol menor). Número de Páginas: 20Duração Aproximada: 4:20 min. Conteúdo: grade e parts individuais para cada instrumento. Composição de Pedro Henrique Rodrigues Dias.  Instruments: Oboe and Piano 4 hands (chamber music).Level: Intermediate/Advanced.Key: Bbm (B-flat minor).Number of Pages: 20.Approximate duration: 4:20 min.Includes: Score and individual parts for each instrument.Written by Pedro Henrique Rodrigues Dias.

Easy Piano - Level 2 - Digital Download SKU: A0.1267740 By Various. By domínio público. Arranged by Sérgio Matias da Cunha. Children,Folk,Instructional,Multicultural,Traditional,World. Score. 1 pages. Sérgio Matias da Cunha #860284. Published by Sérgio Matias da Cunha (A0.1267740). Partitura acessível com figuras rítmicas maiores que a semicolcheia e marcações de cifra e dedilhado. Arranjo alegre e movimentado, trazendo na primeira parte, a melodia tocada pela mão direita e acompanhada com a mão esquerda por acordes destacados sobre as unidades de tempo, e, na segunda parte, invertem-se os papéis na direção de uma finalização marcante e divertida. Encontre mais partituras como essa, colando o nome do arranjador (Sérgio Matias da Cunha) na barra de pesquisa. ATENÇÃO: Compre os quatro volumes do “Curso de Teclado Primeiros Toques� no site https://www.sheetmusicplus.com/ colando o código na barra de pesquisa. Volume1 (A0.1314018) Volume2 (A0.1314021) Volume3 (A0.1314023) Volume4 (A0.1314028).

Piano Solo - Level 4 - Digital Download SKU: A0.1120932 By Manuel Sucher. By Manuel Sucher. Arranged by Juan Carlos Cortés Aguirre. Folk,Instructional,Latin,Multicultural,Traditional,World. Score. 2 pages. Juan Carlos Cortés Aguirre #722122. Published by Juan Carlos Cortés Aguirre (A0.1120932). Transcripción para piano solo por: JUAN CARLOS CORTÉS A. Antología especial con tangos y valses cantados por Enrique Campos. Aqui tenes mi historia (Tango) Letra y música por: Manuel Sucher RECITADO: Aquí tenes mi historia, que al fin nadie ha de contar. INTRODUCCIÓN: Termino mi vida errante, de muchacho calavera, ya no quiero saber nada, de milonga y cabaret. Que vayan saliendo otros, que hay lugar para cualquiera, yo me abrí de esta parada, porque estaba en la palmera… Y ya sin vuelta de hoja, llevaba las de perder. Hay que ver que papa hermano, cuando todas las mañanas, me levanto tempranito para ir a laburar. Y veo que recién llegan, los que se creen tan ranas, porque en rueda e'malandrines, fueron marcaos por la cana… Y se engrupen que son guapos, pobres gatos de albañar. INTERLUDIO: RECITADO: Si supieran esos vivos, que la suerte no es pa'todos, y que los hombres derechos, muy pocos quedando van. No hay más amigo que el vento, hoy que pienso de ese modo, les aconsejo chochamus, que se aparten de ese lodo, donde todo es fuleria, donde todo es falsedad. CANTADO: Yo que le he marcado el tiempo, al potrillo de la vida, para dármelas de logi, me les voy a declarar: He encontrado una pebeta, y aunque parezca mentira, y solo espero el momento de completar mi partida, porque quiero que lo sepan…Que me voy a casorear.

Flute and orchestra - difficult - Digital Download SKU: S9.Q25027 For flute and orchestral groups. Composed by Joerg Widmann. This edition: piano reduction with solo part. Il Flauto traverso. Downloadable, Piano reduction with solo part. Duration 22 minutes. Schott Music - Digital #Q25027. Published by Schott Music - Digital (S9.Q25027). This ‚Suite’ is not one of my ‘epic’ instrumental concertos such as the concertos for cello, violin or oboe, but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface, hover in dangerously distorted fashion and then sink back to the bottom. Almost every individual movement allots the solo flute a specific tonal colouring and an instrumental group from the orchestra: in the opening Allemande, the flutes of the orchestra (including alto and bass flute and later also piccolo to include the entire flute family); the string section in the Sarabande; in both chorales (extremely muted in the first and brutalist in the second), the brass etc.; and it is only in the concluding Badinerie that all orchestral groups are combined, although they are terraced in the Baroque style, one following another, seldom all playing simultaneously. This permits the flute to remain the provider of all impulses; it attaches itself to the wide variety of instrumental colours, becomes suffused with these colours and thereby shines in different lights – acerbic, pale and radiant. This first performance marks the conclusion of my two-year residence with the Cleveland Orchestra. The immense versatility of this fine body of sound (which is indeed treated as such with the sum of its parts) and the exciting dark timbre of its principal flautist Joshua Smith have to a great extent determined the form and tonal character of my Flûte en suite. Jörg WidmannThis ‚Suite’ is not one of my ‘epic’ instrumental concertos such as the concertos for cello, violin or oboe, but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface, hover in dangerously distorted fashion and then sink back to the bottom. Every individual movement allots the solo flute an instrumental group from the orchestra: in the opening Allemande, the flutes of the orchestra; the string section in the Sarabande; in both chorales the brass etc.; and it is only in the concluding Badinerie that all orchestral groups are combined, although they are terraced in the Baroque style, one following another, seldom all playing simultaneously. This first performance marks the conclusion of my two-year residence with the Cleveland Orchestra. The immense versatility of this fine body of sound and the exciting dark timbre of its principal flautist Joshua Smith have to a great extent determined the form and tonal character of my Flûte en suite. Jörg Widmann3 (2. auch Altfl., 3. auch Bassfl., alle auch Picc.) · 3 (2. auch Ob. d’am., 3. auch Engl. Hr.) · 0 · 3 (3. auch Kfg.) - 4 · 4 · 3 · 1 - S. (Glsp. · Vibr. · 3 hg. Beck. [h./m./t.] · chin. Beck. · 4 Gongs · 4 Buckelgongs · 2 Tamt. [m./t.] · Wassertamt. · gr. Tr. · Metal Chimes · Peitsche) (2 Spieler) - Hfe. · Cel. (auch Cemb.) - Str. (10 · 8 · 6 · 4 · 3).

Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.970736 Composed by Mike Strand. Graduation,Jazz,Wedding. Score and parts. 22 pages. Michael M. Strand #4890111. Published by Michael M. Strand (A0.970736). By Mike Strand, ASCAPThis is the full score, plus scores for three groups of parts, for a full arrangement of a swing tune for piano, bass, saxophone, trumpet, trombone, and two singers. After the cover, there are 21 pages of music: Ten pages for the full score; four pages for the group of blowing instruments (alto saxophone, B flat trumpet, and trombone); four pages for the piano and bass; and three pages for the two singers.   Grouping the parts in this manner is natural and advantageous for this particular swing composition. These part groupings will help players in a group coordinate with each other from their group score. This is an excellent compromise between everyone working from the full score, and each player having a score with just the player’s individual part. The audio sample plays the full score.This product solves a problem that any composer of new jazz music faces: Unlike the popular standards, there aren’t any well-known and often-heard arrangements for a band to emulate. As the composer with only a lead sheet, I would have to convince your band to develop an arrangement from scratch, starting from nothing but the lead sheet!  With so many attractive standard swing tunes to perform, a busy band may hesitate to put extra effort into an unknown tune. Problem solved! With this full arrangement of They Came Here to Dance, a band can better see and hear the tune’s full potential. It will be easier for a band to make any modifications to suit its particular mix of musicians and to better fit its style. With this arrangement, with written score, part group scores and audio sample, it will be as easy as working from the recording and score of a popular standard. All that’s missing from this arrangement is the percussion, because of the individuality of drummers. The band only needs a skilled jazz drummer to join in easily with this arrangement.  Here are the lyrics to They Came Here to Dance: 1.You may come here to eat and to drink.Lots of chins wag, and wine glasses clink. Well, that’s all good, but here’s what I think: They came here to dance! 2. We cats up front have to check our sound mix. Then they walk in, togged to the bricks. They have the moves to show off our licks. They came here to dance! Bridge – Instrumental section, followed by: Our band’s in the groove – here’s one reason why: The doghouse amps are turned up high. They get in there, and tear up the floor! And they don’t care if their feet get sore. 3. Bustin’ our conks, we cats are hot, She is a wren who rocks him a lot! And they don’t care if we light up or not. They came here to dance!4. Bridge again, then:Bustin’ our conks, we cats are hot, She is a wren who rocks him a lot! And they don’t care if we light up or not.They have the learning to, they have a yearning to,They came here to dance! Note Some words in these lyrics are taken from Cab Calloway Slang: Light up – smoke a stick (marijuana cigarette) Doghouse - bass Get in there - go to work, get busy, make it hot, give it all you got Bustin’ our conks – breaking our necks (applying ourselves diligently) Wren – a chick, a queen (beautiful girl) Cat – musician in swing band Togged to the bricks – dressed to kill, from head to toe Licks – hot musical phrases In the groove – perfect, down the alley  .

Piano, clarinet in Bb (or violin) and cello - Digital Download SKU: S9.Q47073 Composed by Robert Kahn. This edition: Sheet music. Reprint-Bibliothek. Downloadable. Op. 45. Duration 20 minutes. Musikverlag Robert Lienau - Digital #Q47073. Published by Musikverlag Robert Lienau - Digital (S9.Q47073). Key: G minor. German • English • French.Robert Kahn (1865-1951) komponierte sein Trio op. 45 für den 9 Jahre älteren Klarinettisten Richard Mühlfeld, der bereits Johannes Brahms zu dessen Klarinettenkammermusik inspirierte. Kahn war Dozent an der Königlichen Hochschule für Musik in Berlin. Zu seinen bekanntesten Schülern gehörte der Pianist Wilhelm Kempff, den er ab 1904 in Komposition unterrichtete. Als Kahn 1938 aufgrund der nationalsozialistischen Judenverfolgung nach England emigrierte, war er in Deutschland bereits als Komponist bekannt und hatte zahlreiche Werke publiziert. Nach dem Krieg geriet er wie viele Komponisten seiner Generation nahezu völlig in Vergessenheit. Aktuelle CD-Einspielungen der letzten Jahre zeugen von einem zunehmenden Interesse der Interpreten an seiner Musik. In diesem Trio schöpfte Kahn aus seinen Erfahrungen als erfolgreicher Liedkomponist in hochromantischer Weise. Der Klarinettenpart ist ganz auf die Möglichkeiten eines hochrangigen Interpreten ausgerichtet.

Full Orchestra - Level 5 - Digital Download SKU: A0.1018924 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 76 pages. Benjamin Sajo #6072951. Published by Benjamin Sajo (A0.1018924). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.

Bassoon Solo - Level 5 - Digital Download SKU: A0.1018928 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 5 pages. Benjamin Sajo #6072961. Published by Benjamin Sajo (A0.1018928). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.

Guitar - Level 5 - Digital Download SKU: A0.1221095 Composed by Emmanuel Cabrera Lagunas. Chamber,Multicultural,Traditional,World. 55 pages. Emmanuel Cabrera Lagunas #817447. Published by Emmanuel Cabrera Lagunas (A0.1221095). Huapangueado es una de las obras compuestas por el autor con el apoyo de los estímulos a la creación artística del PECDA HIDALGO 2018. Está concebida como una sonata monotemática que amalgama elementos de la música folklórika mexicana y la música culta de concierto mediante el uso de las hemiolas del son huasteco como material rítmico principal. El juego bimodal de sonoridades entre la tonalidad de SOL mayor y RE mixolidio se superponen con acordes y policordes que combinan intervalos de cuarta y cuarta aumentada. En medio de todo, un desarrollo que contiene una fughetta con el tema.

Percussion Solo,Timpani - Level 5 - Digital Download SKU: A0.1018935 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 3 pages. Benjamin Sajo #6072973. Published by Benjamin Sajo (A0.1018935). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.

Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.950767 Composed by Chris Monteiro. Christian,Praise & Worship,Sacred. Score. 2 pages. Christopher M. Monteiro #3378835. Published by Christopher M. Monteiro (A0.950767). Inasmuch as it is appointed for men to die once, and after this, judgment, so Christ also, having been offered once to bear the sins of many, will appear a second time, without sin, to those who are eagerly waiting for him for salvation. This canon in Dâ™­ Major for Piano and Voice has been fashioned to help you internalize God’s Word. The range of the melody is from Dâ™­ above Middle C to the 2nd Dâ™­ above Middle C. For electronic keyboard, a right-hand cello and left-hand double bass setting is recommended.

Marching Band - Level 3 - Digital Download SKU: A0.1007036 Composed by Johnson K. Gao. Concert,Folk,Holiday,Patriotic. Score and parts. 2 pages. Johnson Gao #6054373. Published by Johnson Gao (A0.1007036). This song was composed by Johnson K. Gao during the Covid-19 pandemic period and self isolated at home. He started to compose that song in the early morning at A.M. 4:30 of September 7, 2020 and finished it at A. M. 4:30 of September 10, 2020. The song has no lyrics at the time of melody was finalized. But, the meaning of the song is clear. It is shown by its name with the hope that everyone could keep good health during the pandemic spreading. The song has an optimistic tune and vivid speed, which are proper to those survivals marching on the historic common road. All rights reserved. However, the author permits educational copying of the song sheet. Any commercial use of the song must get a written permission from the author in advance by contact: jkxgao@gmail.com.