Piano Solo - Level 3 - Digital Download SKU: A0.1029559 Composed by Peter Daniel Klein. 20th Century,Contemporary. Score. 6 pages. Peter Daniel Klein #5307267. Published by Peter Daniel Klein (A0.1029559). I have written a programmatic, neo-romantic/post-romantic prose and musical fragment/miniature based on Schlegel's writings about a Hedgehog. Fragment in the sense that it is not fully developed, yet, in another sense, it is overdeveloped for its length. There are several modern elements in that it is bitonal at one point. At another point, I pit Scriabin's mystic chord, which is his synthetic mode, against what I feel is its nearest aeolian mode, c-minor, which is modernistically dissonant.   It is written in 'classicized' AABA popular song form, which is perfect for a miniature. It revolves around the programmatic, free verse' Prayer,' a plea to God for sleep, elusive due to the mourning of lost love and the associated emptiness and grief felt deep in the night. It is motivic in that there is a repeated augmented 6 to a half-diminished cadence that introduces the theme and then serves to transition each small section, in a secondary dominant style repetition until reaching tonic.   -A1 is a simple statement of the linear theme and harmony in 6ths, and 9ths, almost in keeping with the introductory and transitionary cadence, at least intervallically.   -A2 is a restatement of that theme with an added countermelody (which becomes the subject of section B) woven between the upper linear melody and the altered bass accompaniment.   -B begins with a short statement of the countermelody bi-tonally, the left hand in c minor, the right in g minor. There is a brief transposition between several keys, bitonally, while the sostenuto pedal holds a pedal tone until it attenuates completely.  The two measures build from repressed despondency to rage, as strong emotions often do, quickly turning to dissonant chaos. The dynamics and intensity build to a diminished chord whose top note moves up half a step to a Scriabin mystic chord arpeggio.  The held sustain pedal melds the dissonance together with emotional tumult, which fades as quickly as it came, as outbursts often do.   -A3 starts with the motivic cadence and a deep bass pedal tone. This section is the crowning moment in the piece. In sixths, the macabre accompaniment moves to the right-hand upper tessitura as the more developed 'A' melody moans below in the bass and baritone as the music ebbs away. A simple c-minor arpeggio strains against a very similar Scriabin mystic chord arpeggio, an octave or a minor seventh apart, ending on an A major and A flat in sweet, gentle, unresolved dissonance against a dying root pedal tone, the final teardrop.  

Choral Choir,Choral (3-Part) - Level 2 - Digital Download SKU: A0.1299691 Composed by Charles H. Gabriel. Arranged by Roy Swanson. Christian,Praise & Worship,Religious,Sacred. 13 pages. Runway Region Publications, LLC #889482. Published by Runway Region Publications, LLC (A0.1299691).   AN EVENING PRAYERCharles H. Gabriel was a noted and very prolific composer of gospel songs and hymns.Many of his hymns and songs are still popular and available in hymnals. One of his more popular songs is Will the Circle Be Unbroken? which has been sung by so many great artists. An Evening Prayer is just that - a prayer to sing to the Lord before retiring for the evening, although as an act of confession and connection with God, it is appropriate any time of the day! Notes from the arranger: This simple anthem has lots of possibilities.Let's start with the solo instrument. Feel free to use a violin, trumpet, flute, clarinet, or whatever you have available. Even a single organ line with a nice reed stop will work well. For the voices and depending on the people you have, you can use three separate voices for the solo parts, or separate sections. When the full choir comes in at mm. E, you will want to ensure good balance. The final Amen can be sung by three soloists or the full choir.

String Quartet String Quartet - Level 3 - Digital Download SKU: A0.1013056 Composed by Christine Southworth. 20th Century,Contemporary,World. Score and parts. 35 pages. Airplane Ears Music #5802093. Published by Airplane Ears Music (A0.1013056). Super Collider (2010, 18 minutes) Kronos Quartet and electronic gamelanComposed for Kronos Quartet & Gamelan Elektrika. Premiered at Lincoln Center Out of Doors Festival, August 13, 2010 by Kronos Quartet and Gamelan Elektrika: Evan Ziporyn, kendang; Sean Mannion, kempli; Balaji Mani, ceng-ceng; Laurel Pardue & Sachi Sato, pemade; Katie Puckett & Sam Schmetterer, kantilan; Mark Buckles, Ramon Castillo, Elizabeth Johansen, Julie Strand, reong; Beth Mullins & Po-Chun Wang, pokokGamelan Elektrika is an electronic virtual gamelan designed and developed by Alex Rigopulos (founder and CEO of Harmonix Music, inventors of video games Guitar Hero and Rock Band). The piece is inspired by the Large Hadron Collider at CERN - the largest machine ever built, that's purpose is to change science forever, recreating the beginning of the universe in a tube and proving (or disproving) the theories of particle physics of the last half-century.Particle physics is the unbelievable in pursuit of the unimaginable. To pinpoint the smallest fragments of the universe you have to build the biggest machine in the world. To recreate the first millionths of a second of creation you have to focus energy on an awesome scale. - The GuardianSuper Collider will explore two obverse sound worlds and traditions, the vast culture of the string quartet juxtaposed with the ancient performance methods of a gamelan, unleashed through the unlimited sonic universe of electronics. In our own test-tube experiment, this musical moment of collision will hopefully achieve similarly unparalleled results.What does particle physics have to do with music and art? String theory, which the CERN facility hopes to verify or disprove, presumes that matter itself is the manifestation of resonant vibrations, that the world itself is a universal harmony. This post-modern notion - which Kronos embodies with every performance - itself resonates with the ancient Hindu notion of om, the absolute manifest, which is the basis of Indonesian gamelan. We will bring these two ideas of resonance together by combining Kronos with a gamelan - even a virtual one.The behavior of subatomic particles is probabilistic, group-oriented: the motion of any one particle is unpredictable and unknowable: it's what the group does that counts. This could also be a description of the Balinese gamelan, where individual virtuosity is subsumed to interlocking patterns, composite melodies, the sound of the whole. This is also the spirit of Kronos.When Robert Moog developed his synthesizer in the 1960s, he modeled its functionality on the piano and on western music in general - a single person, sitting at a keyboard. This is one reason why it was popularized by Wendy Carlos' Swtiched On Bach. Gamelan Elek Trika takes a similar approach to the very distinctive musical practices of Indonesia. Like the great gamelans of Bali and Java, Gamelan Elek Trika works as a single unit, played by a complete ensemble. The instruments are played like a gamelan - metallophones, drums, and gongs, playing interlocking patterns - but all are channeled through a central 'brain', a single processing unit which controls their sound, tuning, and timbre. The composer can thus alter the sonic environment globally, not just for one instrument at a time but for the complete ensemble.Super Collider is made possible by generous support from Alex Rigopulos and Sachi Sato, MIT, and the MIT Media Lab. Gamelan Elektrika instruments produced by Alex Rigopulos; sensors, electronics, and interface design by Andrew Boch, Matt Boch, and Laurel Pardue; technical assembly by Stéphanie Bouchard; frame design and assembly by Quentin Kelly.About the ComposerChristine Southworth (b. 1978) is a composer and video artist based in Lexington, Massachusetts, dedicated to creating music born from a cross-pollination of sonic.

Jazz Ensemble Jazz Ensemble - Digital Download SKU: A0.947280 Composed by John Philips. Jazz. Score and parts. 36 pages. John Philips Music Service #3867733. Published by John Philips Music Service (A0.947280). This is a funky 2 beat built on double (24 bar) blues. It has an optional vocal,( cued in for alto sax) that should be sung thru a megaphone like the old Winchester Cathedral. The title comes from a pattern of speech found only in Chicago where people still say over by here and over by there. It swings well and invites a couple tambourines playing on 2 and 4. This is a fun chart but is very correct musically even if you expect the Blues Brothers to show up when it’s played. It can be opened for solos if needed. Don’t get too serious about the vocal, it’s best with your worst singer, maybe with a clothes-pin on his nose.   Enjoy it with your audience.If you want a Maynard or Buddy chart, look elsewhere. This series of charts uses nothing more complicated than eighth notes, are not frantic or screamers, extreme ranges and are hemi-demi-semi-quaver free. They depend on intonation and the players being not intimidated by what he is asked to play. There is no contest to see how high you can go before you need oxygen , how many notes you can play in 9 seconds or before your bell overheats , or how long it takes the audience to cover their earsRelaxed and confident players always play more in tune. Good harmonies, lines and realistic rhythm patterns will produce a good result that will swing and be enjoyed by player and listener alike.

Small Ensemble - Level 2 - Digital Download SKU: A0.947268 Composed by John Philips. Jazz. Score and parts. 27 pages. John Philips Music Service #3867631. Published by John Philips Music Service (A0.947268). First adjust the tempo...This should run at about 130/140. It’s a Funky 2 beat on I Got Rhythm changes gets into 4 on the first bridge. Ending is multiple tags with big finish. This could be opened for choruses. The idea here is the loose swing and not to concentrate on technique so it bogs down. If you liked Basie you would like this.If you want a Maynard or Buddy chart, look elsewhere. This series of charts uses nothing more complicated than eighth notes, are not frantic or screamers, extreme ranges and are hemi-demi-semi-quaver free. They depend on intonation and the players being not intimidated by what he is asked to play. There is no contest to see how high you can go before you need oxygen , how many notes you can play in 9 seconds or before your bell overheats , or how long it takes the audience to cover their earsRelaxed and confident players always play more in tune. Good harmonies, lines and realistic rhythm patterns will produce a good result that will swing and be enjoyed by player and listener alike.

Jazz Ensemble Jazz Ensemble - Level 1 - Digital Download SKU: A0.947267 Composed by John Philips. Blues,Jazz. Score and parts. 15 pages. John Philips Music Service #3867629. Published by John Philips Music Service (A0.947267). First adjust the tempo...This should run at about 130/140. It’s a Funky 2 beat on I Got Rhythm changes gets into 4 on the first bridge. Ending is multiple tags with big finish. This could be opened for choruses. The idea here is the loose swing and not to concentrate on technique so it bogs down. If you liked Basie you would like this.If you want a Maynard or Buddy chart, look elsewhere. This series of charts uses nothing more complicated than eighth notes, are not frantic or screamers, extreme ranges and are hemi-demi-semi-quaver free. They depend on intonation and the players being not intimidated by what he is asked to play. There is no contest to see how high you can go before you need oxygen , how many notes you can play in 9 seconds or before your bell overheats , or how long it takes the audience to cover their earsRelaxed and confident players always play more in tune. Good harmonies, lines and realistic rhythm patterns will produce a good result that will swing and be enjoyed by player and listener alike.

Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.869301 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. With Largo … III. 48 pages. Thomas Oboe Lee #431227. Published by Thomas Oboe Lee (A0.869301). Program note. Nancy Braithwaite, for whom I have written many works - all of them featuring her instrument the clarinet - told me that she was a member of a wind group based on Richard Strauss’ Serenade in E-flat Major, opus 7, for thirteen instruments: two flutes, two oboes, two clarinets, four horns, two bassoons, and contrabassoon. I said to Nancy, I should write a piece for that group. She said that was a good idea. I soon discovered that the name of the group is La Rondine, or the swallow. I then remembered that Puccini wrote an opera called La Rondine. So I told Nancy that I might do a little research on the Puccini opera and come up with a piece inspired by thematic snippets I found in the opera. Well, I did not find Puccini’s music that conducive to a transformation into TOL music.Around the same time, I stumbled upon a 27-CD box set of nine operas by the Venetian composer Antonio Vivaldi. As I was listening to these obscure operas by Vivaldi it dawned on me that I was very attracted to what I was hearing, and it was seeping into my musical thinking in the most natural way imaginable. Very quickly I was hearing things for this work I planned to write for Nancy’s group, and the music just moved along quite smoothly from one movement into another. At the same time I began reading about Vivaldi and his life as a priest, violinist, teacher, impresario, and composer in the city of Venice and other cities nearby. What a fascinating life he led!!! I also discovered in my reading that the city of Venice at that time was called La Serenissima Repubblica di Venezia. So, instead of a serenade for ten instruments, my work for two flutes, two oboes, two clarinets, two horns and two bassoons, is called La Serenissima as an homage to Antonio Vivaldi and that glorious city of Venice. La Serenissima is in six movements. I. Introduction, allegro … II. Largo …III. Presto … IV. Allegretto … V. Adagio … VI. Molto Allegro … TRIO Enjoy!!!! Audio link.   Copy and paste the URL link into your browser.https://thomasoboelee.bandcamp.com/album/la-serenissima-2013Video link: https://youtu.be/wc9FVAejUww

Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.869288 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. With Largo … III. 48 pages. Thomas Oboe Lee #431451. Published by Thomas Oboe Lee (A0.869288). Instrumentation: 2 flutes, 2 oboes, 2 clarinets in Bb, 2 horns in F, 2 bassoons Program note.Nancy Braithwaite, for whom I have written many works - all of them featuring her instrument the clarinet - told me that she was a member of a wind group based on Richard Strauss’ Serenade in E-flat Major, opus 7, for thirteen instruments: two flutes, two oboes, two clarinets, four horns, two bassoons, and contrabassoon. I said to Nancy, I should write a piece for that group. She said that was a good idea. I soon discovered that the name of the group is La Rondine, or the swallow. I then remembered that Puccini wrote an opera called La Rondine. So I told Nancy that I might do a little research on the Puccini opera and come up with a piece inspired by thematic snippets I found in the opera. Well, I did not find Puccini’s music that conducive to a transformation into TOL music. Around the same time, I stumbled upon a 27-CD box set of nine operas by the Venetian composer Antonio Vivaldi. As I was listening to these obscure operas by Vivaldi it dawned on me that I was very attracted to what I was hearing, and it was seeping into my musical thinking in the most natural way imaginable. Very quickly I was hearing things for this work I planned to write for Nancy’s group, and the music just moved along quite smoothly from one movement into another. At the same time I began reading about Vivaldi and his life as a priest, violinist, teacher, impresario, and composer in the city of Venice and other cities nearby. What a fascinating life he led!!! I also discovered in my reading that the city of Venice at that time was called La Serenissima Repubblica di Venezia. So, instead of a serenade for ten instruments, my work for two flutes, two oboes, two clarinets, two horns and two bassoons, is called La Serenissima as an homage to Antonio Vivaldi and that glorious city of Venice. La Serenissima is in six movements. I. Introduction, allegro … II. Largo … III. Presto … IV. Allegretto … V. Adagio … VI. Molto Allegro … TRIO Enjoy!!!! Audio link.   Copy and paste the URL link into your browser.https://thomasoboelee.bandcamp.com/album/la-serenissima-2013Video link: https://youtu.be/wc9FVAejUww

Small Ensemble Pan Pipe,Piano,Trumpet,Tubular Bells,Viola,Violin - Level 3 - Digital Download SKU: A0.976861 Composed by Monica Bergo. Contemporary,Halloween. Score and parts. 43 pages. Monica Bergo #3238977. Published by Monica Bergo (A0.976861). 2017 Holiday Contest EntryNEMESIS I enter the room of my consciousness That incredible disorder I rummage through the drawers Where I keep sufferings And the ineradicable memories Dust that knows of regret Spider webs cover my time, I recompose pieces of life But I'm here for you Fleeting shadow   And my face reflects, Inside you My nemesis, my alter ego You reflect me and then Are a dark ghost The imperfect and the unsaid I will let you be what you are, My soul, black and rending. If you destroy my image It does not matter Finally that door remains open   And opening the border between dream and reality I stumble among people at my funeral Who cry, who laugh, It is my Carnival I look at them from above, a spectral profile   Rush down into the void that I have inside Nobody hugs me, I touch the silence, Slow-motion of a movie without more viewers, Close the curtain of the world outside and ... and ...   The snow falls , how cold it is For this actress without identity I escape from the frost of my uncertainties But there is no refuge save me from she Who is heat, but to hurt Is my animal instinct   I'm alone in this storm But certainly I do not regret Your mood swings, your sterile love Even without, I will survive   My nemesis now dominates Be careful! If she comes for you She destroys you, crushes you, is cruel and savage, And then she will laugh in your face   And sitting here on the bank of my river I'm waiting for you to pass this way Naked and without arrogance I'll never get enough This dance that gives me joy   And in the darkness I move safe and stealthy  (what are you?) I'm not afraid of anything and I feel wicked  (you are lost now)   Souls dancing to the beat of their sins  (you like us) In this limbo I disown my past days  (and so will you be...)   Wind and storm I'm not just this, The rumble of thunder I don't understand any longer which side I’m on And it goes against the wind and sharpens my torment I'm hungry for the Sun Nemesis cannot dominate me   My nemesis is here, Is stronger than ever And I know that she is reaching for me And it’s she who does not know Ever to stop halfway, Is Lady of Vice and Deception She seizes me , she exhausts me because She does not accept the peace that I have inside She has no balance, Makes me waver, And frustrates what I have achieved   Tell me that you'll disappear As a dream in the morning light And will be, within me, A memory clouded by time   I leave the room of my consciousness To make order is impossible Strange this drawer, not only sufferings But something relentless Nemesis, it is no longer your time By now your fire is spent And I will be born again to enchantment By words and music Food for the soul ...   Monica Bergo

String Orchestra - Level 3 - Digital Download SKU: A0.1146683 Composed by Erik Satie. Arranged by Alan Edgar. 20th Century. Score and parts. 42 pages. Alan Edgar Ted Moon #746921. Published by Alan Edgar Ted Moon (A0.1146683). A charming and quirky suite of three movements from the original seven, for solo concert harp with string orchestra. Debussy criticised Satie's music for lack of form--there is a story that Satie showed these pieces to Debussy who asked, ‘Why such a title?’ He replied Because you cannot criticize my Three Pieces in the shape of a Pear. If they are in the form of a pear they cannot be shapeless. Poire had the slang meanings of fool and spinning top--Satie is famous for playing the fool --he said Take my ... Morceaux en Forme d’une Poire... it is evident that musical ideas played no part whatsoever in their composition. First performed by Anita Aslin with Hessle Sinfonia, Alan Edgar conducting.

Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.818377 By Stephen R Dalrymple. By Stephen R Dalrymple (Dalrymple Designs). Arranged by Stephen R Dalrymple. Praise & Worship. Score. 35 pages. Stephen R Dalrymple #6753169. Published by Stephen R Dalrymple (A0.818377). Infinite, Eternal, Invisible, Undetectable God ♫ original song by Stephen R Dalrymple ♫ based on 2 Chronicles 2:6, John 1:18, John 4:24 ♫ CCLI song # 7193328 ♫ Does God, the Creator of the Universe, have a face, eyes, ears, hands, arms, and feet? (Eze 39:29, Ps 34:15, Isa 59:1, Ps 98:1) Does He have wings like a chicken that He uses to comfort us? (Ps 91:4) Does He travel on the back of a cherub? (Psalm 18:10) Are the clouds a hiding place for God? (Job 22:14) Is His residence a place called heaven? Is the earth the footstool of His throne? (Isaiah 66:1) Does God change His mind? (Ex 32:14) ♫ The poetry of the Bible, (like other ancient literature) is full of figures of speech. Figures of speech explain things in words and ideas we can understand. The Bible abounds in figures of speech such as simile (comparison using like or as), metaphor (comparison not using like or as), synecdoche (using a part for the whole), deliberate hyperbole [obvious exaggeration], verbal irony (the tone of voice tells that the speaker means the opposite of the words he or she is using), personification (attributing human features or feelings to animals or inanimate objects), anthropomorphism / anthropopathism (gives human attributes, feelings to God.) [or animals, inanimate objects, cartoon characters.] ♫ God is spirit. (John 1:18, John 4:24) He is infinite, eternal, invisible, undetectable. The humanlike descriptions of God are actually figures of speech that help us understand and identify with Him. Descriptions of God’s eyes, arms, feet, wings, etc. are all figures of speech that tell us God is present everywhere, sees everything, hears everything, and cares about every part of his creation. (God is imminent). ♫ The heavens, even the highest heavens cannot contain Him. (2 Chronicles 2:6, 6:18) God is separate from the universe. (God is transcendent.) Scientific measurements cannot detect Him because He is not in the universe, the universe is in Him. ♫ Just as you can feel your fingers and your toes at the same time, God knows what is happening in every atom of the universe simultaneously. Back to the original question. ♫ After swimming laps in our local pool, I like to float on my back a bit. It reminds me that as the water surrounds me and supports me, so I am constantly encircled and upheld by God’s actual presence ♫ music © 2022 Stephen R Dalrymploe♫ recording ℗ 2022 Stephen R Dalrymple ♫ presentation © 2022 Stephen R Dalrymple ♫ sequenced by the composer ♫ This .pdf file includes 1) labeled copies for up to 7 printed copies of the vocal with piano accompaniment and 2) vocal with piano accompaniment for 10 inch tablet. (Tell your computer which pages you want to print. There are programs online that will allow you to split pdf files so that you can choose parts you wish to print).

Piano Solo - Level 4 - Digital Download SKU: A0.984692 Composed by Johann Sebastian Bach. Arranged by John M. Honeycutt. Baroque. Score. 6 pages. Music Innovators Workshop #4356269. Published by Music Innovators Workshop (A0.984692). This piece is hard to beat. It's one of my all-time favorites. And I love to see the patterns that it makes on the page. 6 Pages.This piece is notated on a vertically oriented tablature called a key map. Key maps are intended to SHOW you (visually) which keys to play by matching (mapping) the locations of the keys on the keyboard. >>> The group of 12 keys from Middle C up to B form what we call the green Octave Group (There are 7 of these identical groups on the piano distinguished by their colors and locations.) The key map staff is based on an octave group of the keyboard. For each key map octave group, the 5 vertical lines of the staff stand for the 5 matching black KEYS. >>> Staff lines ARE SPACED to match the horizontal spacing of the black keys on the keyboard The notes for black keys are placed ON these staff lines. The notes for the white keys are placed BETWEEN the lines. >>> The notes of a key map move to the left and right to indicate change in PITCH and down the page to indicate the passing of TIME (rhythm). The vertical length of each note is proportional to the time (in beats) that the sound requires.

Piano Solo - Level 3 - Digital Download SKU: A0.984704 Composed by Johann Sebastian Bach. Arranged by John M. Honeycutt. Baroque. Score. 6 pages. Music Innovators Workshop #4357617. Published by Music Innovators Workshop (A0.984704). This piece is from Bach's Well Tempered Clavichord and notated on a vertically oriented tablature called a key map. Chord symbols have been added. Key maps are intended to SHOW you (visually) which keys to play by matching (mapping) the locations of the keys on the keyboard. >>> The group of 12 keys from Middle C up to B form what we call the green Octave Group. (There are 7 of these identical groups on the piano distinguished by their colors and locations.) The key map staff is based on an octave group of the keyboard. For each key map octave group, the 5 vertical lines of the staff stand for the 5 matching black KEYS. >>> Staff lines ARE SPACED to match the horizontal spacing of the black keys on the keyboard The notes for black keys are placed ON these staff lines. The notes for the white keys are placed BETWEEN the lines. >>> The notes of a key map move to the left and right to indicate change in PITCH and down the page to indicate the passing of TIME (rhythm). The vertical length of each note is proportional to the time (in beats) that the sound requires.