String Quartet String Quartet - Level 5 - Digital Download SKU: A0.861791 Composed by Mark O'Connor. 20th Century,Contemporary,Folk,Traditional. Score and parts. 28 pages. Mark O'Connor Musik International #6201737. Published by Mark O'Connor Musik International (A0.861791). String Quartet No. 3 Old-Time (cello part – two vlns, vla, cel) MO169ECello Part (score and parts available)Music by Mark O’Connor24 pages - 24:00 minutes in lengthMovement I (5:02)Movement II (5:38)Movement III (3:18)Movement IV (9:46)String Quartet No. 3 (Old-Time) was composed on the occasion marking 400 years of history dating from the days of the first European settlements. My specific task from the Hudson Commission was to concentrate music based on the natural habitat and beauty of the Hudson as well as on the time of the first European settlers. It was natural for me to think about old-time fiddling in this light. In 1909 Washington Irving described the Catskill Mountains as a dismembered branch of the Appalachian Mountains. My own Dutch ancestors settled in the Hudson Valley in the early 1600’s, and eventually traveled down the Appalachians to settle in the South in the early 1800’s. The old-time fiddling that dominated those areas along that route is the musical language utilized in creating this String Quartet.For the musical genesis of the Quartet, I initially created phrases from the fiddle that were molded out of old-time fiddling tradition. With technical twists and turns, the phrases became unique and new but all the while still connected to the tradition. It is these phrases that I used as material to create the String Quartet. Through the process of composing, techniques such as re- harmonization, development, canonic applications spill over each other like the Hudson tributaries in the Adirondacks. The counterpoint of the Quartet invigorates and establishes itself. The result is a wholly participating body emphasizing transitions from the traditional to the contemporary in sound and style. The music here is no longer fiddle music as the inventions of the quartet embarks on a new story, a new way to play, and with a new musical idea to put forward. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2007 Composed By Mark O’ConnorCommissioned by the Santa Fe and La Jolla Chamber Music FestivalsString Quartet No. 2 Bluegrass) can be heard on String Quartets No.’s 2 & 3 OMAC RecordsRecorded by Mark O’Connor - violin, Ida Kavafian - violin, Paul Neubauer - viola, Matt Haimovitz - cellohttps://omacrecords.com/omac-14-string-quartets-2-3 Catalogue Number MO169ECopyright © 2007 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com  

Choral Choir (Unison) - Level 1 - Digital Download SKU: A0.999683 Composed by Rebecca Lou. Children,Christian,Instructional,Praise & Worship,Sacred. Octavo. 3 pages. Rebecca Lou #6057971. Published by Rebecca Lou (A0.999683). But this I call to mind, and therefore, I have hope.  The Love of the Lord is always there for me! His mercies never end.  They're new each morning for me.  The Lord is all I need.  I'll trust in Him!  The promising, hopeful words of Lamentations 3:21-26 are sung so beautifully in this easy melody by children. There's no better way to learn Biblical truths than by singing.  Sing along with sweet children's voices as you learn these encouraging truths!Join the many who are learning new Scripture verses through singing Scripture Songs for Dancing in His Arms!

Choral Choir (SATB) - Digital Download SKU: A0.576648 Composed by David Warin Solomons. 20th Century,Contemporary,Holiday,Love. Octavo. 6 pages. David Warin Solomons #49135. Published by David Warin Solomons (A0.576648). A jolly parody of Shakespeare's song by the same name but using my Bell Dance as the melody to represent mobile phones (or cell phones as they say in the USA). A version for men's voices is also available on this site. The sound sample here was performed by the Composer's Choir under Dan Shaw. ring ding dong ding dong ring ding dong ding dong It was a lover and his lass in the spring time that through the city streets did pass in this ring time calling each other every minute or two and texting in case they couldn't get through oh hearken to the lovers in the spring time! Between the supermarket aisles while they're shopping these pretty city folk would chat without stopping vainly the birds are welcoming spring with their song they'll wear themselves out e'er very long while lads and lasses never tire of ringing! Then one day when Romeo must text his Julietta just to say I luv ya yeah I luv ya so much but then she rings back to tell him that it's all over she's met a nicer lad from Folkestone or Dover (It's all over it's all over lad from Dover) so he just rings to all of his pals and calls her a slag! and all the people on the tram hear the show while our pretty city folk live all on their mobile then suddenly the battery's flat as a skate and Romeo can not ring his mate he's sorry that he called her slag in spring time he can't ring her he can't ring his Julietta sorry now in spring.

Solo Guitar - Level 3 - Digital Download SKU: A0.1032084 Composed by Edwin Culver. 20th Century,Contemporary. Individual part. 4 pages. Edwin Culver #4347575. Published by Edwin Culver (A0.1032084). Classical Guitar Solo - IntermediateComposed by Edwin Culver (1992-) 4 Pages.  Duration 7'30Composer's note: Have you ever felt stuck? Trapped by something you can’t fully understand no matter how hard you try?  Perhaps it’s something from our past that we never invited...or something we’ve missed in our closest relationships, maybe it’s just the dread we’ve felt waking up early in the morning to repeat the daily grind.  We work hard to try and propel ourselves out of this nightmare, but we never seem to get totally free, in fact sometimes it feels like we’re just making ourselves feel worse by failing to overcome it yet again. This piece, ...a bridge a-way, exits within, represents that feedback loop, that stuckness.    The piece came to me when I felt stuck in life by several things - old scars, old habits, crippling emotions.  I had been wanting to write something in a minimalist style for the guitar for quite some time and the repetition found in so much minimalist music seemed like the obvious way for expressing this stuckness.  There’s constant motion in the piece, just like when we try to take constant action in our lives to improve our circumstances. But all this motion never seems to get us anywhere new. We’re spinning our wheels…But one of the interesting things about great minimalist music is that it’s not merely about repetition.  I don’t believe the greatest minimalists were concerned with having less stuff in their music for the sake of having less.  Instead, what I think they more often aimed for was producing the biggest emotional impact that they could through the tiniest of changes.  And if in your mind’s eye you zoom out from one of these minimalist masterworks and perceive it on a grand scale, you realize that despite all the seemingly redundant repetition in the moment the piece actually covers a huge distance because all those tiny changes add up.Likewise, in ...a bridge a-way, exits within, it seems like the performer can’t free himself from the territory of the first position on the guitar for the longest time.  Even when he does venture higher up the instrument he’s always inextricably pulled back to the starting point. But small changes can have a profound impact.It doesn’t feel like we’re making headway whenever we’re having to crawl out of our skin - until, suddenly, when it’s all over.  And you hear this towards the end of the piece, when there’s a sudden magnetic force that pulls the music from a low A to a high E-natural.  From A to E, a bridge to exits eternal. The bridge has been found within, in the One I’ve put my trust in, because I can’t reach my eternal destiny on my own.   This is ...a bridge a-way, exits within.

Choral Choir (SATB divisi) - Level 3 - Digital Download SKU: A0.931836 Composed by Nathan Petitpas - Dots and Beams. Instructional. Octavo. 137 pages. Dots and Beams #4776187. Published by Dots and Beams (A0.931836). This collection presents its user with a series of increasingly difficult rhythms on a single pitch. The rhythmic material in this series is organized into 10 difficulty levels. Each difficulty level contains four exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. The first two exercises of each time signature have no ties while the remaining two exercises in each time signature include ties. In Book 1 of this series you’ll find difficulty levels 1 to 5, while Book 2 completes the set with levels 6 to 10. The exercises in this collection are intentionally random and difficult to internalize. They don’t follow any predictable or standard groove pattern, but instead are random successions of eighth- and sixteenth-note groupings within the prescribed difficulty level. In keeping the rhythmic material as unpredictable as possible the door is left open for the materials to be used in conjunction with any number of exercises, while forcing the user to process every rhythm as its own event without relying on pattern recognition to help in identifying the rhythms. To curate the difficulty of rhythm in as objective a way as possible I looked at all of the possible eighth-note and sixteenth-note groupings within the basic unit of one beat. Each difficulty level builds on the exercises of the previous by adding groupings that are slightly more conceptually challenging. Difficulty Level 9 contains all possible groupings, while Level 10 focuses on the more challenging groupings by omitting easy ones. Some suggestions for how to use this book include: Practice sight-reading. When doing so it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Use a metronome! The most important thing you can do with this material is learn how to read these rhythms and play them in time. Advanced metronome work: Place the metronome click on weak beats. With the metronome clicking only on the beat you run the risk of relying on the metronome to give you the time. Placing the metronome click on non-strong beats forces you to take responsibility for the time. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4, or only the downbeat of each bar. Be creative with this one! The possibilities are limitless. Develop independence between hands by playing a repeating pattern in one hand while reading an exercise in the other. Expand on this by adding patterns in hands and feet while reading a rhythm with a remaining limb. This is a great exercise for drummers and percussionists but any instrumentalist could benefit from coordination practice. Use these rhythms to practice scales. Instead of playing scales in straight sixteenth-notes, try playing them in the rhythms given in these exercises. Write in sticking patterns, dynamics, accents, phrase marks, or other articulations for you or your students to practice. If you’re not happy with the ties I included, feel free to add some of your own. Combine the above exercises in any way that you think will be beneficial to your practice. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I encourage anybody using this book to find as many uses for these exerci.

Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drum Set,Drums,English Horn,Euphonium,Flute,Hand Percussion,Handbell,Harmonica,Harpsichord,Marimba,Multi-Percussion,Oboe,Orff Instrument,Organ,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Timpani,Trombone,Trumpet,Tuba,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 1 - Digital Download SKU: A0.931835 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 137 pages. Dots and Beams #4776185. Published by Dots and Beams (A0.931835). This collection presents its user with a series of increasingly difficult rhythms on a single pitch. The rhythmic material in this series is organized into 10 difficulty levels. Each difficulty level contains four exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. The first two exercises of each time signature have no ties while the remaining two exercises in each time signature include ties. In Book 1 of this series you’ll find difficulty levels 1 to 5, while Book 2 completes the set with levels 6 to 10. The exercises in this collection are intentionally random and difficult to internalize. They don’t follow any predictable or standard groove pattern, but instead are random successions of eighth- and sixteenth-note groupings within the prescribed difficulty level. In keeping the rhythmic material as unpredictable as possible the door is left open for the materials to be used in conjunction with any number of exercises, while forcing the user to process every rhythm as its own event without relying on pattern recognition to help in identifying the rhythms. To curate the difficulty of rhythm in as objective a way as possible I looked at all of the possible eighth-note and sixteenth-note groupings within the basic unit of one beat. Each difficulty level builds on the exercises of the previous by adding groupings that are slightly more conceptually challenging. Difficulty Level 9 contains all possible groupings, while Level 10 focuses on the more challenging groupings by omitting easy ones. Some suggestions for how to use this book include: Practice sight-reading. When doing so it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Use a metronome! The most important thing you can do with this material is learn how to read these rhythms and play them in time. Advanced metronome work: Place the metronome click on weak beats. With the metronome clicking only on the beat you run the risk of relying on the metronome to give you the time. Placing the metronome click on non-strong beats forces you to take responsibility for the time. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4, or only the downbeat of each bar. Be creative with this one! The possibilities are limitless. Develop independence between hands by playing a repeating pattern in one hand while reading an exercise in the other. Expand on this by adding patterns in hands and feet while reading a rhythm with a remaining limb. This is a great exercise for drummers and percussionists but any instrumentalist could benefit from coordination practice. Use these rhythms to practice scales. Instead of playing scales in straight sixteenth-notes, try playing them in the rhythms given in these exercises. Write in sticking patterns, dynamics, accents, phrase marks, or other articulations for you or your students to practice. If you’re not happy with the ties I included, feel free to add some of your own. Combine the above exercises in any way that you think will be beneficial to your practice. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I encourage anybody using this book to find as many uses for these exerci.

String Quintet Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.1193222 By James Arthur. By Andrew Frampton, Daniel O'Donoghue, James Arthur, Mark Sheehan, Neil Ormandy, Stephen Kipner, and Steve Solomon. Arranged by Sherry Lewis. Contemporary,Wedding. 22 pages. Sherry Lewis Publishing #792678. Published by Sherry Lewis Publishing (A0.1193222). Say You Won’t Let GoSTRING ORCHESTRA Intermediate Level for 2 violins, viola, cello and string bass chords such as C, Em, etc.ABOUT THE DEMO: I took the  first few measures on the demo only to get to the chorus as we’re allotted 30 seconds of demo.Score: YesParts: 10 pagesTime: 4:25If you can't find a title then contact me through https://baysbest.com/contact/ and I'll give you the link back to SMP. Thank you for your order!

String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1193223 By James Arthur. By Andrew Frampton, Daniel O'Donoghue, James Arthur, Mark Sheehan, Neil Ormandy, Stephen Kipner, and Steve Solomon. Arranged by Sherry Lewis. Contemporary,Wedding. 18 pages. Sherry Lewis Publishing #792679. Published by Sherry Lewis Publishing (A0.1193223). Say You Won’t Let GoSTRING QUARTET Intermediate Level for 2 violins, viola and celloABOUT THE DEMO: I took the  first few measures on the demo only to get to the chorus as we’re allotted 30 seconds of demo.Score: YesParts: 8 pagesTime: 4:25If you can't find a title then contact me through https://baysbest.com/contact/ and I'll give you the link back to SMP. Thank you for your order!

String Trio Cello,Viola,Violin - Level 3 - Digital Download SKU: A0.1193224 By James Arthur. By Andrew Frampton, Daniel O'Donoghue, James Arthur, Mark Sheehan, Neil Ormandy, Stephen Kipner, and Steve Solomon. Arranged by Sherry Lewis. Contemporary,Wedding. 19 pages. Sherry Lewis Publishing #792680. Published by Sherry Lewis Publishing (A0.1193224). Say You Won’t Let GoSTRING TRIO Intermediate Level for 2 violins and cello or violin, viola and celloABOUT THE DEMO: I took the  first few measures on the demo only to get to the chorus as we’re allotted 30 seconds of demo.Score: YesParts: 8 pagesTime: 4:25If you can't find a title then contact me through https://baysbest.com/contact/ and I'll give you the link back to SMP. Thank you for your order!

Cello,Instrumental Duet,Violin - Level 3 - Digital Download SKU: A0.1193228 By James Arthur. By Andrew Frampton, Daniel O'Donoghue, James Arthur, Mark Sheehan, Neil Ormandy, Stephen Kipner, and Steve Solomon. Arranged by Sherry Lewis. Contemporary,Wedding. 11 pages. Sherry Lewis Publishing #792684. Published by Sherry Lewis Publishing (A0.1193228). Say You Won’t Let GoSTRING DUO  Intermediate Level for violin and cello ABOUT THE DEMO: I took the  first few measures on the demo only to get to the chorus as we’re allotted 30 seconds of demo.Score: YesParts: 4 pagesTime: 4:25If you can't find a title then contact me through https://baysbest.com/contact/ and I'll give you the link back to SMP. Thank you for your order!