SKU: A0.529972

Part 2 Eb Alto Saxophone - Featuring ingenious and very accessible arrangements of works by Schubert, Sibelius, Mozart, and more! Arrangements for String Quartet or 3 Violins & Cello Wind Quartet, Sax Quartet and...the possibilities are endless!
Ideal for String Quartet or Wind Quartet or Piano Quartet or 4 Clarinets 4 Saxophones & more! The keyboard/guitar part encompasses parts 2, 3 and 4. Therefore, the arrangements could be played as a piano quartet, or an entire quartet could play with a pianist - as long as Part 1 is being played.

Table of Contents
Turkish March from The Ruins of Athens (Beethoven)
Hungarian March from Damnation of Faust (Berlioz)
St. Anthony Chorale from Variations on a Theme of Haydn (Brahms)
Scarf Dance from the ballet Callirhoe, Op. 37 (Chaminade)
Mazurka from Op. 67 #3 (Chopin)
Trumpet Voluntary in D Major (Clarke)
La Marseillaise French National Anthem (De Lisle)
Largo from Symphony #9, Op. 92 From the New World (Dvorak)
Dixie (Emmett)
I'm Called Little Buttercup from H. M. S. Pinafore (Gilbert & Sullivan)
Elfin Dance from Lyric Pieces, Op. 12 #4 (Grieg)
Bourree from Sonata in G for Flute, Op. 1 #5 (Handel)
Sarabande from Suite #4 in D minor for piano, 2nd set (Handel)
See the Conquering Hero Comes from Judas Maccabaeus (Handel)
Farewell Symphony from Symphony #45, fifth movement (Haydn)
Minuet from Symphony #95 in C minor (Haydn)
Santa Lucia (Italian Traditional)
'Tis the Last Rose of Summer  Irish Air (Moore)
Allegro & Presto Symphony #1 in Eb Major, K. 16 (Mozart)
The Great Gate of Kiev & Promenade from Pictures at an Exhibition (Mussorgsky)
Ave Maria from Thirty Pieces for Young People, Op. 107 #24 (Reinecke)
Three O'Clock in the Morning (Robledo)
Over the Waves from Sobre Las Olas Waltzes (Rosas)
Dark Eyes (Russian Folk Melody)
March Militaire from Three Military Marches, Op. 51 #1 (Schubert)
Norse Song from Album for the Young, Op. 68 #41 (Schumann)
Chanson Sans Paroles from Pensees Lyriques, Opus 40, #2 (Sibelius)
Valse Triste from Kuolema, Op. 44 #1 (Sibelius)
Morning Prayer from Album for the Young, Op. 39 (Tschaikovsky)
Espana Waltz #1 & # 2 from the Espana Waltzes, Op. 263 (Waldteufel)
www.lastresortmusic.com.

SKU: A0.1110128

Easy Sailing for Piano was a composition I wrote a few months into the corona-virus pandemic. My dad talked to me about writing piano music like this and almost immediately the idea for this composition popped into my head. I've created maybe over twenty compositions so far in my life, and this was the first one where I knew exactly how it was going to sound from the moment I got the idea. With all the other pieces, I started out with a small idea and grew from there. But as I said, with Easy Sailing for Piano, I knew exactly how the piece would go. Well... There is one thing that's different. Originally, I wanted Easy Sailing for Piano to be a lot longer. The idea was to increase in difficulty the further into the music you went. The problem with that idea was that I also wanted this to be an easy song to learn. It was clear that if I continued the composition, I was going to make it unsuitable for beginners to play. The parts that survived sound really good though. Easy Sailing for Piano should be pleasant to listen to and play. Easy Sailing for Piano is technically a theme and variations. If you don't know, a theme and variations is a musical form. It starts with a melody that establishes the mood of the composition, and the variations basically play around with that theme. Now this piece only has the theme and the first variation. I'm pretty sure you need more than one variation for it to officially be a theme and variations. But, I don't think that matters too much since it's for beginners and not advanced students. In the future, I might write a sequal to this composition. I think I might call it Easy Sailing for Piano 2, or something along those lines. It will have a theme that's similar to this video's, but it will be much, much longer. If you purchase the sheet music for Easy Sailing for Piano, I hope you enjoy it! This is supposed to be a pleasant song to listen to and perform.

SKU: A0.970761

Mike Strand, ASCAP

This is a lead sheet with lyrics, chords and guitar fret boards, for a jazz group, small, or large, with singer or solo instruments. It serves as a good basis for a variety of arrangements, contra facts, and improvisations.

The audio sample is a jazz quintet: A slow swing jazz accompaniment from iReal Pro, combined with my duet tunes from Finale PrintMusic. In this sample, a flute takes the accompaniment (treble clef), with a baritone sax in the bass clef.

The main tune (bass clef) is accompanied, making this an unusual duet lead sheet. For example, a flute may accompany a baritone singer.

An option is to interchange the voice roles (e.g., main tune octave higher, accompaniment octave lower), or use one of the tunes of the duet by itself.

I wrote this piece in honor of immigrants, in recognition of the courage it takes to move to a new country and learn a new language. New immigrants often go through difficulties and setbacks, including persecution from citizens of their adopted country. This, despite the recent immigrant ancestry of most of the persecutors, notably in the USA.

In the subtitle of Immigrant Blues, I recognize my own immigrant ancestors, and also Anders Lundegård, who, like my paternal grandparents, moved to the USA from Sweden. Anders helped me with this piece, with his reviews and comments.

**Here are the lyrics for Immigrant Blues:

1.

Moving to the U. S., far away.

Life here is so bad, I will not stay.

Talked to Mom and Dad, they said OK.

I want to make a place for them some day.

2.

First time in the States was no picnic.

Half the time no work, and I got sick.

Some folks try to help, while others scoff.

I have friends, but others put me off.

3.

Looking bright and able, that’s my plan.

Taking ESOL classes when I can.

Learning English is no easy chore,

And I want my folks here, that’s for sure.

And I want my folks here, that’s for sure.

Oh, yeah!

SKU: A0.1123395

…You watch as a man walks alone, along a deserted rural highway. He is aware that danger is out there, but for this moment, the peril is far enough away to let his guard down….maybe…. The pages of the comic book super “hero,� The Incredible Hulk, have always been among my favorites. I am personally one of the great defenders of the character’s films. And, as a child, I loved re-runs of the The Incredible Hulk television show. Bixby Walks Alone is the musical intersection of this love. Inspired by the tragic, lonely ending of each episode of the television series, as well as the intense, expositive opening credits sequence of the 2008 film, I sat down and created the minimalist engine that drives this piece. Originally conceived for bassoon quartet, the opportunity to write a work for the Heartland Marimba Quartet allowed me to flesh out this feeling of tension even further.

SKU: A0.1268804

Endless Song is a cantata for SATB choir (with divisions) accompanied by strings (quartet, quintet, or orchestra) or piano. Duration c.28 mins.
 
Endless Song celebrates the joy of singing, setting texts by poets including Walt Whitman, James Weldon Johnson, and Rabindranath Tagore, and incorporating the traditional song 'How can I keep from Singing'. 
 
It was commissioned by the Waltham Singers, conductor Andrew Fardell, and first performed in Great Waltham Church, Essex, in June 2023, with the Maggini String Quartet plus double-bass.
 
Full score and string parts are available on hire or on sale from www.colneedition.co.uk.
 
The following movements are also available separately:
·      The Gift to Sing (CE124) – SATB and piano
·      Music for the Soul (CE125) – SATB and piano
·      My life flows on (CE126) – SATB and piano
·      My Song (This Song of Mine) (CE127) – SATB and piano
·      My Song (This Song of Mine) (CE129) – SATB unaccompanied

Alan Bullard's choral works are performed worldwide, and many have been recorded and broadcast. He has a reputation for music that choirs enjoy performing, and which speaks directly to audiences. The Colne Choral Series contains a range of Bullard's pieces for adult and youth choirs of all types, including cantatas and choral suites as well as individual movements. For full details please visit www.colneedition.co.uk or www.alanbullard.co.uk.

SKU: A0.1457134

For SATB, Evangelist (Baritone), Christ (Tenor), Flute, Organ, Acoustic Guitar and Percussion (Timpani, Triangle and Tambourine).
It is in three parts - Part 1 Christ's Coming and Maundy Thursday, Part 2 Crucifixion, Part 3 Resurrection. The mp3 plays back the first part using a sound library. 
I have always wanted to write a Passion piece. The piece is a 33 minute hybrid choral cantata with musical theatre overtones and folk music sections with words I’ve selected from St Luke’s Gospel as well as two lovely Christina Rossetti poems plus a new folk setting I’ve done of There is a Green Hill Far Away.

SKU: A0.1487252

Ignaz Pleyel (1757-1831) was at one time the most famous composer in the world. The popularity of his music eclipsed that of even his teacher Haydn and publishers vied to bring out his latest works as soon as they were finished. Some 2000 separate prints of Pleyel works had appeared by 1800 and his fame extended to every corner of Europe and as far afield as North America. Pleyel's career as a composer spanned less than thirty years with the majority of his works composed in the 1780s.

He founded a successful publishing house in Paris in the mid-1790s and later began manufacturing keyboard instruments. With increasing demands on his time from his business concerns Pleyel's productivity as a composer dropped sharply and he ceased composing around 1805. Pleyel wrote very little solo keyboard music preferring instead to compose accompanied sonatas (i.e. piano trios).

The attractive Rondeau in E flat (Benton 613), suitable for performance by either harp or fortepiano, illustrates many of Pleyel's strengths as a composer. It is attractive, technically resourceful and unerring in its sense of dramatic pace. Its principal theme is lively and distinctive, not too difficult technically and yet rewarding to play. The principal theme and the episodic material are elegantly constructed and reveal a sensitivity to the tone colour of the instrument.

The minore section is dramatic and the octave doublings lend it a strength and power which contrasts effectively with the gentle rondeau theme. The final episode, the most technically challenging, adds a thrilling touch of drama to the closing phase of the piece.