Large Ensemble Voice - Level 4 - Digital Download SKU: A0.869309 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. With Pluto … The Lord of the Underworld. (2005) This year, 2009, he asked me if I would be interested in writing a work for narrator and chamber orchestra like Prokofiev’s “Peter and the Wolf.â€Â� I said, “Yes. I would be delighted to do so.â€Â� He. 90 pages. Thomas Oboe Lee #431371. Published by Thomas Oboe Lee (A0.869309). Program note. Maestro Charles Ansbacher has been a devoted supporter of my work for many years. In the past 6 years he has commissioned me to write two works for his ensemble, the Boston Landmarks Orchestra: 1) Mambo!!! (2003) 2) Pluto … The Lord of the Underworld (2005) This year, 2009, he asked me if I would be interested in writing a work for narrator and chamber orchestra like Prokofiev’s Peter and the Wolf. I said, Yes. I would be delighted to do so. He told me that the subject for this work would be Boston’s own landscape architect, Frederick Law Olmsted. Sure, I said, why not? Charles told me he had a poet in mind who would provide the text, Nancy Stevenson. I said, Great! The work is in four parts, following Ms. Stevenson’s poetic design. I wrote a marching music in Part One depicting Mr. Olmsted when as a child he walked from his home to his aunts and uncles who lived far away. As a young man, Mr. Olmsted went through many jobs until he decided that as a landscape architect he could make cities a better place for children and adults alike. The mayor of Boston hired him to do just that, to make Boston more livable. In Part Two, I wrote presto music depicting the dredging of the Charles River and the planting of trees along its shores. In Part Three, the text describes the Boston Emerald Necklace – the paths that lead from the Fens to the Arboretum to Franklin Park. For this section I chose music that is bucolic and pastoral, a setting that evokes the country side with a flock of sheep, complete with a shepherd and his dog. In the last section the text describes Mr. Olmsted’s dream that in his parks there would be tranquility and rest to the mind … a place where the rich and the poor would play together. The music returns to the legato march that began the work.

Concert Band - Digital Download SKU: IZ.CBW222-S Composed by Gary Gazlay. Score. 23 pages. Imagine Music - Digital #CBW222-S. Published by Imagine Music - Digital (IZ.CBW222-S). 8.5 x 11 inches.A choral setting of Isaiah 61:1-3 for two-part choir. This is the passage from which Jesus reads in the synagogue at Nazareth.The spirit of the Lord God is upon me, because the Lord has anointed me; he has sent me to bring good news to the oppressed, to bind up the brokenhearted, to proclaim liberty to the captives, and release to the prisoners; to proclaim the year of the Lord's favor, and the day of recompense of our God; to comfort all who mourn; to provide for those who mourn in Zion – to give them a garland instead of ashes, the oil of gladness instead of mourning, the mantle of praise instead of a faint spirit. They will be called oaks of righteousness, the planting of the Lord, to display his glory.This anthem was composed and performed in celebration of the installation of The Rev. Jon Lavelle as rector of St. John's-Grace Episcopal Church in Buffalo, New York, on March 3, 2019.

Large Ensemble Voice - Digital Download SKU: A0.869339 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. With Pluto … The Lord of the Underworld. (2005) This year, 2009, he asked me if I would be interested in writing a work for narrator and chamber orchestra like Prokofiev’s “Peter and the Wolf.â€Â� I said, “Yes. I would be delighted to do so.â€Â� He. 90 pages. Thomas Oboe Lee #32449. Published by Thomas Oboe Lee (A0.869339). Program note. Maestro Charles Ansbacher has been a devoted supporter of my work for many years. In the past 6 years he has commissioned me to write two works for his ensemble, the Boston Landmarks Orchestra: 1) Mambo!!! (2003) 2) Pluto … The Lord of the Underworld (2005) This year, 2009, he asked me if I would be interested in writing a work for narrator and chamber orchestra like Prokofiev’s Peter and the Wolf. I said, Yes. I would be delighted to do so. He told me that the subject for this work would be Boston’s own landscape architect, Frederick Law Olmsted. Sure, I said, why not? Charles told me he had a poet in mind who would provide the text, Nancy Stevenson. I said, Great! The work is in four parts, following Ms. Stevenson’s poetic design. I wrote a marching music in Part One depicting Mr. Olmsted when as a child he walked from his home to his aunts and uncles who lived far away. As a young man, Mr. Olmsted went through many jobs until he decided that as a landscape architect he could make cities a better place for children and adults alike. The mayor of Boston hired him to do just that, to make Boston more livable. In Part Two, I wrote presto music depicting the dredging of the Charles River and the planting of trees along its shores. In Part Three, the text describes the Boston Emerald Necklace – the paths that lead from the Fens to the Arboretum to Franklin Park. For this section I chose music that is bucolic and pastoral, a setting that evokes the country side with a flock of sheep, complete with a shepherd and his dog. In the last section the text describes Mr. Olmsted’s dream that in his parks there would be tranquility and rest to the mind … a place where the rich and the poor would play together. The music returns to the legato march that began the work.

Choral, Guitar, Organ, Percussion, Rhythm - Digital Download SKU: H1.C5796RDP Composed by Joel Raney. Hymntune, General Worship, Church, Worship. Rhythm parts. 13 pages. Hope Publishing - Digital #C5796RDP. Published by Hope Publishing - Digital (H1.C5796RDP). 1 Corinthians 3:11 - Isaiah 24:4 - Exodus:17:1 - Exodus:17:2 - Exodus:17:3 - Exodus:17:4 - Exodus:17:5 - Exodus:17:6 - Ephesians 2:8 - Ephesians 2:9 - Ephesians 2:10.Original composition Based on The Church's One Foundation and Rock of Ages, this is a groove-filled, gospel toe-tapper from Joel Raney - fun for choirs and congregations alike. It's a true celebration of the church of Jesus Christ, the cornerstone of God's eternal plan! Rhythm parts include guitar, bass, drums, and Hammond B-3 organ.

Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.565005 By Sharon Wilson. By Sharon Wilson. Arranged by Sharon Wilson. Children,Christmas,Contemporary,Instructional,Sacred. Score. 4 pages. Sharon Wilson #3107881. Published by Sharon Wilson (A0.565005). This is one of the 10 children's songs in the collection Bible Stories and Songs: New Testament ~ The Life of Jesus. The lyrics for this song were inspired by the Bible story found in Matthew 2:13-23. The purchase price includes a 1-page adaptation of the Bible story, a 2-page piano-vocal score with guitar chords, plus a 1-page reproducible lead sheet. A piano accompaniment track is available separately.Lyrics:Verse 1:God saved his Son, from the evil one.God saved the Man, who'd fulfill his plan.Verse 2:God saved his boy, bringing life and joy.God saved his Son. Now the vic-'try's won.Visit Sharon Wilson’s website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1106044 By Bryan M. Powell. By Bryan M. Powell. Arranged by Bryan M. Powell. Christian,Contemporary,Praise & Worship,Religious,Traditional. Octavo. 10 pages. Composer Bryan M. Powell's Music #709184. Published by Composer Bryan M. Powell's Music (A0.1106044). Beginning with creation we are given a fresh look at the vastness of God and His wondrous redemptive plan. It is both confounding and astounding in its depth and beauty. When we get to the tag ending, the chorus explodes into pure worship and praise as we stand in awe of God's matchless grace. This is a MUST-Have piece for this season.

Strings,Trombone Trio B-Flat Clarinet,Cello,E-Flat Alto Saxophone,Flute,Horn,Piano,Suspended Cymbal,Tenor Trombone,Timpani,Triangle,Trumpet,Tuba,Tubular Bells,Viola,Violin - Level 3 - Digital Download SKU: A0.1106052 By Bryan M. Powell. By Bryan M. Powell. Arranged by Bryan M. Powell. Instructional,Praise & Worship,Religious,Sacred,Traditional. Accompaniment. Duration 221. Composer Bryan M. Powell's Music #709193. Published by Composer Bryan M. Powell's Music (A0.1106052). Beginning with creation we are given a fresh look at the vastness of God and His wondrous redemptive plan. It is both confounding and astounding in its depth and beauty. When we get to the tag ending, the chorus explodes into pure worship and praise as we stand in awe of God's matchless grace. This is a MUST-Have piece for this season.

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1128059 Composed by G Holst. Arranged by Philip Le Bas. 20th Century,Patriotic,Religious,Sacred. Octavo. 3 pages. Philip Le Bas #728668. Published by Philip Le Bas (A0.1128059). An arrangement by Philip Le Bas of Gustav Holst's hymn setting of I vow to thee, my country (Thaxted, with words by Sir Cecil Spring Rice.) It is scored for SATB choir and organ, with congregational participation split between men and women. This enables a more joined up and uplifting rendition of Holst's famous tune from Jupiter in his Planets Suite than the standard setting in most hymn books. The hymn's popularity is very evident for example by being sung both at Princess Diana's wedding and, poignantly, at her funeral.

Brass Ensemble - Level 3 - Digital Download SKU: A0.808706 Composed by Fred Fisher. Arranged by F. Leslie Smith. Folk,Holiday,Jazz,Patriotic,Traditional. Score and parts. 40 pages. Sweetwater Brass Press #6215233. Published by Sweetwater Brass Press (A0.808706).      Orville and Wilbur Wright made their famous flight in late 1903; this song was published seven years later: Fred Fisher’s music with Alfred Bryan’s lyrics. The words form a narrative of a young man attempting to get his girlfriend to go up with him in his flying machine. And, that would take much more daring on her part than one might realize today. The year 1910 was still early days for aviation; most airplanes were still made of wood, wire and fabric and looked liked giant gliders. Supposedly, the Josephine of the song was Josephine Sarah Magner, reputed to be America’s first female parachutist. Magner married Leslie Burt Haddock, whose aviation career started in balloons, and made her first jump in 1905. During the next dozen years, she made more than 500 jumps. Pretty daring!     This arrangement is quirky and an absolute delight to play (and to listen to)! The first half is set in the song’s native ¾ time. The takeoff is the introduction, followed by the chorus, then the verse and again the chorus as the melody loops, rolls and spins through the five instruments. A middle section briefly quotes two other aerialist tunes-He flies through the air with the greatest of ease and Up in the air Junior Birdmen-and serves as a transition to cut time. A swing version of the chorus brings us in for a landing and final fade.     The arrangement begins in the key of C major and changes to G major during the transitional section. Suggested tempo is 76 bpm throughout. The arrangement comprises 202 measures: Horn in F plays the most notes, followed by Trombone and Tuba, while Trumpets get off relatively lightly. All notes are well within the normal playing range of the instruments; Trumpet 1 does, however, play A above its staff several times.     Completed in 2021, performance time for Come, Josephine in My Flying Machine runs about 3 minutes, 45 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge; contact him directly at lessmith61@bellsouth.net. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the search box. (Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt directly to him at lessmith61@bellsouth.net.)

Acoustic Guitar,Alto Flute,Digital Keyboard,Electric Violin,Electronic Keyboard,Instrumental Solo,Oboe d'Amore,Piano - Level 2 - Digital Download SKU: A0.1150810 By Israel Pessoa. By Diversos. Arranged by Israel Pessoa. 20th Century,Christian,Christmas,Jewish,Wedding. Score and individual part. 60 pages. Israel Pessoa #750994. Published by Israel Pessoa (A0.1150810). Livro com 50 partituras Evangélicas. Melodias com cifra das principais musicas tocadas nos eventos em geral. Para você que quer começar ou expandir seu repertório. Todas as partituras foram escritas e revisadas com extremo cuidado para que você possar baixar e tocar. A Benção - Gabriel Guedes + Nivea Soares A Tua Glória Faz - Fernanda Brum A Tua Mesa Cura - Thamires Garcia Abraça-me - Gabriela Rocha Aclame ao Senhor - Diante do Trono Autor da Minha Fé - Paulo Cézar da Silva Bela História - Vocal Livre Bondade de Deus - Isaias Saad Casamento - C4 Pedro Consagração - Aline Barros Desde o primeiro sim - Bruna Karla Deus de Promessas - Davi Sacer Deus Está Aqui - DR Eles Se Amam - Vocal Livre Em teus Braços - Laura Souguellis Eu o Espero Voltar - Discípulos Faço Novas Todas As Coisas - Mensagem 2000 Glória - Surgem Anjos - Tradicional Natalina Glória Aleluia! Sinto Jesus - Nayara Yamamoto Gratidão - Gabriela Rocha Hallelujah - Leonard Cohen História Infinita - Esdras Gondim I Smile - Kirk Franklin Jesus Alegria Dos Homens - J.S. Bach Lugar Secreto - Gabriela Rocha Mais Perto, Meu Deus, de TI! - Lawell Manson Meu Prazer - Ministe�rio Koinonya de Louvor Milagre De Amor - Juliana De Paula Não é todo dia - Priscila França Nas asas do Senhor - Celina Borges Ninguém Explica Deus - Preto No Branco Noite Feliz - F. Gruber - Tradicional Natalina O Dono da Seara - Anderson Freire Oceans - Hillsong Os Planos de Deus - Samuel Messias Ousado Amor - Isaias Saad Panis Angelicus - Cesar Frank Raridade - Anderson Freire Santo Espírito - Laura Souguellis Serei Teu - Missionário Shalom Seremos um - Mariana Aguiar Shine Jesus, Shine Simplesmente Jose - Eugênio Jorge Só Tu És Santo - Morada Um Presente de Deus - Sérgio SAAS Vem Chegando O Natal - Aline Barros Você - Elaine Martins When You Believe - O principe do Egito Yeshua - Casa Worship Yeshua - José Augusto.

Organ - Level 5 - Digital Download SKU: A0.890713 Composed by John Pitts. Baroque,Christian,Contemporary,Sacred. Score. 20 pages. Intensely Pleasant Music #3424723. Published by Intensely Pleasant Music (A0.890713). Passacaglia (2000-2012) for Organ - 6 minutes  This piece exists in versions for organ (this one - the original version in 2000) and orchestra (performed by Bristol University Symphony Orchestra under the baton of John Pickard in 2001), and finally a piano duet version completed in 2012.   The theme is based on the ground bass from Bach’s stonking Passacaglia in C minor for organ. However, the implied harmonies of Bach’s original ground bass are treated to some twisted harmonies – where each chord is altered using a system of harmonic substitution - swapping each chord implication for a newly chosen one (Cm=C, Fm=F#, G=A, Dm=A¨, Eb=F and on it goes around the 12 chromatic notes).  Each key therefore has a ‘dominant’ and ‘subdominant’ that are not the actual chords V and IV in that key, so the traditional cadences and chord relationships are supplanted by 12 individual 3-chord relationships – one set of three chords for each of the 12 (now almost exclusively major) keys. In an attempt to recreate the pulls of the traditional tonic-dominant-subdominant relationships, each key then also has a particular mode/scale with particular added notes that are designed to recreate the sense of moving away from and back towards the home chord of that key. This results in a lot of rich added harmonies and some idiomatic voice-leading. Bach’s original theme in Cm is: C G - E¨ F - G A¨  - F G - D E¨ - B C -   F G   - C, and in the opening statement of the ground bass this has become: C A - E F# - A B¨ - F# A - D# E - C# C - F# A - C. There are then 21 variations which modulate through a range of keys, during which the ground bass is constantly re-adjusted to fit the new harmonic areas. It starts in C major, then goes through ‘closely’ related keys (eg A major and A¨ major), and then back to C in variations 6, 9 and 11. This kind of arch then happens again but going through more distant keys before returning to C in variations 18, 19 and the final climactic variation 21. Leaving aside the structural and tonal nuts and bolts, my aim was to compose a piece that attempts to recapture some of the nobility and beauty of Bach's Passacaglia, with rich added note harmonies, and exuding an exuberant joy.

Instrumental Duet Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.890701 Composed by John Pitts. Baroque,Contemporary. Score and parts. 36 pages. Intensely Pleasant Music #3424663. Published by Intensely Pleasant Music (A0.890701). Passacaglia (2000-2012) duet 6 minutes This piece also exists in versions for organ (my original version in 2000) and orchestra (performed by Bristol University Symphony Orchestra under the baton of John Pickard in 2001). The piano duet version was finally completed in 2012.  The theme is based on the ground bass from Bach’s stonking Passacaglia in C minor for organ. However, the implied harmonies of Bach’s original ground bass are treated to some twisted harmonies – where each chord is altered using a system of harmonic substitution - swapping each chord implication for a newly chosen one (Cm=C, Fm=F#, G=A, Dm=A¨, Eb=F and on it goes around the 12 chromatic notes).  Each key therefore has a ‘dominant’ and ‘subdominant’ that are not the actual chords V and IV in that key, so the traditional cadences and chord relationships are supplanted by 12 individual 3-chord relationships – one set of three chords for each of the 12 (now almost exclusively major) keys. In an attempt to recreate the pulls of the traditional tonic-dominant-subdominant relationships, each key then also has a particular mode/scale with particular added notes that are designed to recreate the sense of moving away from and back towards the home chord of that key. This results in a lot of rich added harmonies and some idiomatic voice-leading. Bach’s original theme in Cm is: C G - E¨ F - G A¨  - F G - D E¨ - B C -   F G   - C, and in the opening statement of the ground bass this has become: C A - E F# - A B¨ - F# A - D# E - C# C - F# A - C. There are then 21 variations which modulate through a range of keys, during which the ground bass is constantly re-adjusted to fit the new harmonic areas. It starts in C major, then goes through ‘closely’ related keys (eg A major and A¨ major), and then back to C in variations 6, 9 and 11. This kind of arch then happens again but going through more distant keys before returning to C in variations 18, 19 and the final climactic variation 21. Leaving aside the structural and tonal nuts and bolts, my aim was to compose a piece that attempts to recapture some of the nobility and beauty of Bach's Passacaglia, with rich added note harmonies, and exuding an exuberant joy.