Piano,Soprano Flute - Level 1 - Digital Download SKU: A0.1453445 By Sabrina Carpenter. By Amy Allen, Julian Bunetta, Sabrina Carpenter, and Stephenie Jones. Arranged by Jhonatan Lucio Viana. 21st Century,Contemporary,Film/TV,Pop,Singer/Songwriter. Score and part. 6 pages. JLVPartitura #1032673. Published by JLVPartitura (A0.1453445). Espresso by Sabrina Carpenter for Flute + Piano:This arrangement provides a captivating interpretation of Sabrina Carpenter's Espresso.Key Features:- Melodies and harmonies that capture the essence of the work;- Suitable for Easy Beginner or Easy Intermediate levels;- Professionally arranged sheet music in PDF format;- Genre: Pop;I am pleased to offer this arrangement to enrich your musical journey. After purchasing your sheet music, visit my extensive collection available on the website under the name: Jhonatan Lucio Viana. Explore various arrangements for different instruments and voices, all designed to inspire and challenge musicians of all levels.

Piano,Soprano Flute - Level 1 - Digital Download SKU: A0.1453446 By Sabrina Carpenter. By Amy Allen, Julian Bunetta, Sabrina Carpenter, and Stephenie Jones. Arranged by Jhonatan Lucio Viana. 21st Century,Contemporary,Film/TV,Pop,Singer/Songwriter. Score and part. 6 pages. JLVPartitura #1032674. Published by JLVPartitura (A0.1453446). Espresso by Sabrina Carpenter for Flute + Piano + Chords:This arrangement provides a captivating interpretation of Sabrina Carpenter's Espresso.Key Features:- Melodies and harmonies that capture the essence of the work;- Suitable for Easy Beginner or Easy Intermediate levels;- Professionally arranged sheet music in PDF format;- Genre: Pop;I am pleased to offer this arrangement to enrich your musical journey. After purchasing your sheet music, visit my extensive collection available on the website under the name: Jhonatan Lucio Viana. Explore various arrangements for different instruments and voices, all designed to inspire and challenge musicians of all levels.

Fl.pft. - Intermediate-Advanced - Digital Download SKU: F2.FM448 Composed by Geoff Warren. Flute and Piano. Score and part. 30 pages. Forton Music - Digital #FM448. Published by Forton Music - Digital (F2.FM448). ISBN 9790570483471.I wrote these pieces towards the end of summer 2014 at the request of various flautist colleagues who were telling me I should get back to writing for flute and piano. Five of the six pieces are dedicated to musician colleagues; all flautists except Walter the percussionist. The sixth is to myself, perhaps a portait of the artist as a young boy. These compositions, however, are not really meant to be portaits, just pieces dedicated to people I work with, and to some extent inspired by how I see them, so I have called them Sketches. The Sketches offer short expositions of themes which I hope will be enjoyable to play and to listen to. They offer some technical challenges for the flautist but are mostly in a 'medium difficulty' range, in attractive jazz/pop styles.

Jazz Ensemble Jazz Ensemble - Level 2 - Digital Download SKU: A0.1273503 Composed by Tchaikovsky, Peter. Arranged by Thingvall, Jon. Film/TV,Jazz. Score and Parts. 88 pages. Jon Thingvall #865640. Published by Jon Thingvall (A0.1273503). Briar Rose was the name of an early version of Sleeping Beauty.  Here, Tchaikovsky’s famous Sleeping Beauty Waltz is perked up a little, and re-imagined for a standard junior high/early high school, jazz big band (5,4,4), and played in 4/4 time.Difficulty:  junior high to early high school band.Designed to help students learn jazz.Key:  F (original ballet key is B-flat)Highest lead trumpet note: concert E (last note), in the treble clef.There are no solos.  Exposed parts have at least two players.The rhythms swing, but are kept predictable, without too much variety.Rhythm section play-along here:  https://youtu.be/rhlifLTzHC8Additional Parts Included:                Score, transposed                Score, concert pitch                Piano/Guitar showing Bass in L.H.                Piano/Guitar only, no Bass                Piano with jazz ideas/options written out                Drum set notation                Drum set kicksheetMeasure 71 (at approx. 1:51) could serve as an Optional Ending, and the director will be able to edit the measure as desired—beef up the “& of two� if desired, and/or add horns on beat 4, etc.  If done in class, as my teachers occasionally did, it can show the students the process of arranging, and might encourage some in that direction.As a classical-turned-jazz pianist, my best memories are of those who helped me bridge the gap from verbatim part-playing to the concepts of learning jazz harmonies and its own unique form of counterpoint.  Writers' suggestions--like Sammy Nestico's, who occasionally specified voicings--were invaluable.  So, for classically-trained pianists who are interested in jazz, I’ve included a couple versions of the piano part—a fairly standard “lead sheet�, but also one with ideas for voicings, especially quartal, which the classical artist might not have considered.  Further study on YouTube and other Internet sites will help them hear and visualize the difference between jazz and classical.The Bass part gives the student the option of playing the changes, or the written notes.I’ve also included two kinds of drum parts—one with notation for those just starting out, and another “kick sheet� for those with more experience.Manuscript made with Finale v26Sounds from Finale and Garritan “JABB3� (Jazz And Big Band)MP3 courtesy of OnlineAudioConverter.com.

Composed by Anna Laura Page. Lent, Funeral. 3 pages. MorningStar Music Publishers #15-850-08E. Published by MorningStar Music Publishers

Instrumental Duet Flute,Instrumental Duet,Organ - Level 3 - Digital Download SKU: A0.943022 Composed by Lewis A. Kocher. Contemporary,Easter,Sacred. Score and parts. 8 pages. Lewis A. Kocher #4320157. Published by Lewis A. Kocher (A0.943022). IN YOUR LOVE for FLUTE AND ORGANPlaying time: Appx. 2:30Services: Lent, Ordinary TimeThis meditative and uplifting piece for flute and organ (intermediate level) works equally well as a prelude to the service, or as a part of the service itself - say, as a meditation.In many liturgical traditions solo music/duets are not allowed during Lent. In the past however I have used it as background music to liturgical movement or liturgical drama, for example, during Ash Wednesday and even on Good Friday.Having said that, this work is not focused specifically on Lent and is in fact perfect for any time of year.God bless.

Flute,Piano - Level 3 - Digital Download SKU: A0.844534 Composed by Robert Schumann. Arranged by Phil Beaman. Concert,Romantic Period,Sacred,Standards. Score and part. 7 pages. Phil Beaman #3509005. Published by Phil Beaman (A0.844534). In 1849 Robert Schumann completed a set of Romantic character pieces for piano which he named Forest Scenes. One of that set was called Pleasant Landscape, which I have freely arranged for accompanied Instrumental Solo. I have slowed it down considerably from the original and marked it with passionate energy. The beauty and interest is created by the shaping and phrasing of this beautiful melodic line. It has a rubato feeling throughout with constant tempo changes like rall, molto rall, freely, accel, etc. In keeping with the characteristics of the Romantic period my arrangement is full of interpretive marks in every measure making it a great piece for auditions to show your technique and interpretation. Not too difficult to play but sounds quite advanced when all details are observed. The equally beautiful piano part provides great interplay of expressive harmony and countermelody. A beautiful piece to show your expressive musicianship and impress them in either concert or audition. Marked Intermediate due to the plethora of markings to observe, musicianship that is required for a mature performance, and a 2 octave range that will push the limits of some instruments.3:10 minutes, 5 page score, 2 page solo partTemporary recording of a piano reduction of total score.

Piano/Vocal/Chords - Intermediate - Digital Download By Savage Garden. Arranged by Mario Stallbaumer. 7 pages. Published by Mario Stallbaumer

Contrabassoon,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.549233 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Easter,Standards,Wedding. Score and individual part. 9 pages. Jmsgu3 #3468784. Published by jmsgu3 (A0.549233). J. S. Bach BWV 508. This arrangement features a specially revised custom accompaniment part that avoids unwanted collisions with the contrabassoon and revoices chords to avoid awkward doublings and other voice-leading problems. It accentuates the solo part very nicely. Bist du bei mir Bach adapted this aria from a lost Stölzel opera called Diomedes. He changed the original orchestral instrumentation to soprano, strings, and continuo.  He also modified the voice-leading making it sound more like a Bach composition. The work appears as BWV 508 No. 25 in the Anna Magdalena Notebook No. 2.   Source Only a few remnants of the original opera have survived. Historians speculate that Anna Magdalena got the song from the Leipzig Opera after the bankruptcy of 1720. Chances are good, though, that the tune was a favorite of everyone in Leipzig at the time.   Lyrics When thou art near, I go with joyTo death and to my rest.O how joyous would my end be,If your fair hands            Would close my faithful eyes. - Unknown Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy are the St. John Passion, and indeed the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.  Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival                Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.  

Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1143904 Composed by Igor Korneitchouk. 20th Century,A Cappella,Contemporary,Religious. Octavo. 37 pages. Studio at the Post #744209. Published by Studio at the Post (A0.1143904). Duration: 16 minutes, 33 pp. Description: Exodus is a great story that belongs to everyone. Not only is it central to Judaism, not only is it integral to the Christian Bible, it is an immortal story that has been, and continues to be, an inspiration to oppressed peoples everywhere on this planet. It is relevant not just as ancient scripture but as living text, to be rediscovered by each new generation of an ever-widening Family of Man. The theme of struggle against oppression and slavery was just as relevant to the early Christians persecuted in Ancient Rome as it was relevant to the American Civil Rights movement of the 1960's, just as relevant to the Soviet Jews wishing to emigrate as it is to the South African Blacks resisting Apartheid. From the Dark Ages and the Spanish Inquisition, to Ghandi's emancipation of India, to the Holocaust, to, full-circle, the ongoing struggles in Palestine today, the story of Exodus is a guiding light in a dim and often grim world. According to the composer: The Story of a Leader is a collection of ‘re-chorales’ I created one summer when I was totally immersed in a post-educational obsession with the 371 Chorales by Johann Sebastian Bach. We used to study these to learn the rules of harmony and voice-leading (no parallel fifths, avoid crossed voices, etc.) at the Cleveland Institute of Music where I began my compositional career. That summer, now a professor of music in my own right, I discovered many broken and bent rules by the master himself and, along with the glory of being able to work through these Chorales myself at the piano, I felt an incredible feeling of liberation and possibilities unmediated by instructors of music theory. I began by stripping away all that Bach wrote, leaving only the hymn tunes which were not his to begin with. These tunes existed long before Bach used them for his tonal experiments, some attributed to Martin Luther, or someone else, others simply listed as ‘anonymous’. The same is true for the texts, which were then translated into English mostly in the 19th century (the provenance of each can be found herein on the first page of each of my reharmonizations). In some cases I modified the text to fit the context. I selected 12 of these ‘re-chorales,’ linking them together based on their texts in a kind of logic that worked for me, and created a narrative that told The Story of a Leader (Moses). This story is highlighted in the music with such techniques as cross-modal harmonies, points of imitation, a beer drinking song in one instance, and in another, to symbolize the parting of the seas for Moses’ people, an inversion of the soprano line in the bass..

Piano Solo - Advanced Intermediate - Digital Download By Linkin Park. Arranged by Mario Stallbaumer. 3 pages. Published by Mario Stallbaumer

Piano Solo - Level 4 - Digital Download SKU: A0.1000329 Composed by Johann Sebastian Bach, Paul Eber, and Steve Boudreau. Arranged by Steve Boudreau. 20th Century,Jazz,Sacred. Score. 2 pages. Steve Boudreau #6681051. Published by Steve Boudreau (A0.1000329). The Bach Chorales are ultimate examples of melodies creating harmonies, the parts coming together to form a whole. They are also great examples of a musician taking a melody and making a new arrangement of it, like jazz musicians do today. This piece is a combination of two chorale melodies that Bach arranged, originally based on hymns by 16th-century composer Paul Eber. For context, Bach set the melody around 200 years after it was written, and I re-worked the melodies with my own harmonies nearly 300 years after that.The first job I had when I moved back to Ottawa from Boston was as a church pianist. At one point there was a two-month stretch where I was in charge of programming the instrumental music we played, and I challenged myself to come up with new arrangements every week- the way Bach would have in his time, just on a much smaller scale. This was a terrific creative outpouring of music for me, and it renewed my enormous respect for the church music community and the work involved.For this piece I took two seemingly unrelated chorales (they are actually from the same Cantata, BWV 127) and attached them, using their distant keys of A Major and F Major to set up an interesting modulation halfway through. I had to actively try out some more modern harmonic progressions to take the overall sound of the piece further away from Bach's version. One of my favourite moments is when you finish the C major resolution and then repeat back into F# Minor at the top for improvising. In the solo piano version this surprising cut doesn't occur unless you take a second pass through the piece, so I encourage you to try repeating the piece even if you don't feel comfortable embellishing or changing anything the second time around.

Piano Solo - Level 4 - Digital Download SKU: A0.785746 Composed by M Ravel. Arranged by Grant Horsley. 20th Century,Contemporary,Romantic Period,Wedding. Score. 6 pages. Grant Horsley #6066877. Published by Grant Horsley (A0.785746). This minuet from the fabulous sonatine by Ravel, has been carefully arranged for pianist who would like a slightly easier version to play.It has been arranged in D major from the original D flat for ease of reading. Some large chords have been compromised but all essential harmony is present. Finally, I have re-voiced a few areas where hands collide in the original to make it easier to negotiate.It is advanced Intermediate is level although a competent Intermediate pianist may be ok with it. Best to look at the youtube to judge which has the whole score.  It is 5 pages and roughly 3 mins 15 in length.It really is a wonderful piece- especially used for concert's weddings, recitals, encore, incidental, recitals etc.

Flute,Piano - Level 3 - Digital Download SKU: A0.747025 By Dizzy Gillespie. By Dizzy Gillespie and Frank Paparelli. Arranged by Keith Terrett. Jazz. Score and part. 12 pages. Keith Terrett #5899351. Published by Keith Terrett (A0.747025). A great sounding arrangement of A Night in Tunisia arranged for Flute & Piano, Flautists will love this!A jazz solo is written out for you, if you wish you can improvise on the given chord symbols!A Night in Tunisia is a musical composition written by Dizzy Gillespie around 1941–42, while Gillespie was playing with the Benny Carter band. It has become a jazz standard.It is also known as Interlude. Gillespie called the tune Interlude and said some genius decided to call it 'Night in Tunisia'. He said the tune was composed at the piano at Kelly's Stables in New York. He gave Frank Paparelli co-writer credit in compensation for some unrelated transcription work, but Paparelli had nothing to do with the song. A Night in Tunisia was one of the signature pieces of Gillespie's bebop big band, and he also played it with his small groups. In January 2004, The Recording Academy added the 1946 Victor recording by Gillespie to the Grammy Hall of Fame.On the album A Night at Birdland Vol. 1, Art Blakey introduced his 1954 cover version with this statement: At this time we'd like to play a tune [that] was written by the famous Dizzy Gillespie. I feel rather close to this tune because I was right there when he composed it in Texas on the bottom of a garbage can. The audience laughs, but Blakey responds, Seriously. The liner notes say, The Texas department of sanitation can take a low bow.The complex ostinato bass line in the A section is notable for avoiding the standard walking bass pattern of straight quarter notes, and the use of oscillating half-step-up/half-step-down chord changes (using the Sub V, a tritone substitute chord for the dominant chord) gives the song a unique, mysterious feeling. The B section is notable for having an unresolved minor II-V, since the chord progression of the B section is taken from the B section of the standard Alone Together, causing the V chord to lead back into the Sub V of the A section.Like many of Gillespie's tunes, it features a short written introduction and a brief interlude that occurs between solo sections - in this case, a twelve-bar sequence leading into a four-bar break for the next soloist.

Flute,Piano - Level 4 - Digital Download SKU: A0.912783 Composed by Alexander Courage, Gene Roddenberry, and Jerry Goldsmith. Arranged by Challena Zellick. Contemporary. Score and part. 5 pages. Challena Zellick #6198299. Published by Challena Zellick (A0.912783). Advanced level version of the famous Star Trek: The Next Generation theme for flute with full piano accompaniment. This arrangement works with my other ST: TNG arrangements so you can mix your own ensemble. Challenges the upper range of the flute, and piano requires steady rhythmic precision. 4/4 Intro into 6/8 Main theme, and 5 key changes starting on Eb.This arrangement by a lifelong fan of the series, is the screen (episode) version. With hundreds of episodes, over a dozen feature length and documentary films, and a legacy of over 50 years of boundary breaking fandom around the world, Star Trek can now be brought to life by your own instruments in your own home. Live Long and Prosper. Find me as @StarsongMusic on Instagram, for new released music, music musings, and anything else music that I put out there. Send me a request, and I accept commissions.