Guitar - Digital Download SKU: A0.1497877 Composed by Ted Nugent. Arranged by Tracy Dean McCallum. 20th Century,Rock. Tablature. 8 pages. Tracy Dean McCallum #1074289. Published by Tracy Dean McCallum (A0.1497877). https://tracymccallum.com Never before have I turned on you You look too good to me Your beady eyes, they could cut me in two And I just can't let you be Well, it's a free for all, and I heard it said You can bet your life Stakes are high and so am I It's in the air tonight See you there with your Cheshire grin I got my eyes on you Shake your tail feather in my face and there's no tell in what I'll do Well looky here, you sweet young thing: the magic's in my hands When in doubt, I'll whip it out. I got me in a rock 'n roll band It's a free for all Here we go! Look out below! I'm on the prowl tonight When it's said and done, I'll have my fun. I can do anything I like Come one, come all, to a midnight ball. The invitation's there All alone and I'm driving home. God help me I do declare It's a free for all Never before have I turned on you Well you look too good to me Your beady eyes, they could cut me in two And I just can't let you be Well, it's a free for all, and I heard it said You can bet your life Stakes are high and so am I It's in the air tonight It's a free for all

Choral Choir (SAB) - Level 4 - Digital Download SKU: A0.1029966 Composed by June Foster, Ben Tibbetts. Christian,Sacred. Octavo. 13 pages. June Foster #5996641. Published by June Foster (A0.1029966). Hope that Lasts is written for SAB choir with a trio and is appropriate for church services throughout the year, especially services with a theme of hope and encouragement. The message of this song is hope. The verses are intended to represent God's words  to us, in which He encourages and guides us along our paths. The voicing-three  individuals singing in unison-is meant to represent the three parts of the  Trinity: Father, Son, and Holy Spirit.vs. 1 I have a plan  just for you,I have prepared  you something new.I will protect, I will provide, I’ll always be there by your side.vs 3. Watch me and  see what I do, I will take  care of you. Now I want you  to understand, The hopeful future I have planned.The chorus intentionally switches between singular and  plural, demonstrating the importance of both an individual and a corporate  relationship with God. After the last verse, the chorus changes to demonstrate  that we are strengthened and assured by what He tells us. Suggested Scripture passages: Isaiah 43:18-19, Philippians 3:13-14, I Thessalonians 1:2, Jeremiah 29:11, and Colossians 3:2.Chorus: Will you make a way for me, Lead me along  this path? Will you show  me where to go, And give me  hope that lasts? Will you make a way for us, Lead us along  this path? Will you show  us where to go,  And give  us hope that lasts?Also available congregational version item number SO.895371

B-Flat Trumpet,Drum Set,Euphonium,Flugelhorn,Flute,Guitar,Piano - Level 3 - Digital Download SKU: A0.1012600 Composed by Michelle Kraak. Contemporary,Pop,Rock,Standards. 44 pages. Michelle Kraak #6102861. Published by Michelle Kraak (A0.1012600). Instrumentation: flute, horn, flugelhorn, Bb trumpet 1, Bb trumpet 2, euphonium, amplified guitar, drum set, piano and voice (mezzo soprano)Always Thinking of You is a fusion of a few different styles, including aspects of pop and rock as well as hints to the brass chorale style. It has a unique combination of instruments. Amplification is recommended to get the best group balance. I originally wrote the lyrics as a poem and then set the poem to music. The piece should be sung in a pop-like style, as opposed to an operatic style. It could be programmed in a recital or ensemble concert. The piece has a unique instrumentation, which can be helpful for groupsthat don't have the standard instrumentations. It would work nicely for students or to showcase a vocalist.4 minutes 57 secondsashevilletrumpet.comhttps://www.facebook.com/kraakmichellehttps://www.instagram.com/kraakmichelle/https://www.linkedin.com/in/michelle-kraak-71b0258a/ Lyrics:I don't know what to do,Every step brings me closer to you.Every touch of your hand,This is not what I had planned. Forever and ever,You will always be here,Never forgotten,So painfully near.Each morning I wake,Each breath that I take,I'll always be thinking of you,Always be thinking of you. Love come and gone.Like a snowflake that melts in the spring.My heart will grieve.So for you this song I'll sing. Forever and ever,You will always be here,Never forgotten,So painfully near.Each morning I wake,Each breath that I take,I'll always be thinking of you,Always be thinking of you.

Choral Choir,Choral,SAB Chorus - Level 3 - Digital Download SKU: A0.1448445 By Kimberly Joy Minarich. By Kimberly Joy Minarich. Arranged by Kimberly Joy Minarich. Christian,Contest,Festival,Sacred,Spiritual. 8 pages. Kimberly Joy Minarich #1028355. Published by Kimberly Joy Minarich (A0.1448445). Psalm 100 ~ my absolute favorite verses in the Bible and what I claim as my life verses! As a young girl, I remember memorizing them and how they forever imprinted on my heart to live a life through service, surrender, JOY, and love for my eternal Father, my King. Life is a gift that we get to live. Each breath is a gift that I dedicate to my heavenly Father as I walk closely with Him on this journey of life. He is with me, He inspires me through His Word, He directs my steps through the whispers of the Holy Spirit, and He pours from my soul through the joy and love that He has given me. Praise God for His gift of salvation and that every step I take is one step closer to an eternity with Him! Please enjoy this song that I was inspired to create because of its impact on my heart and throughout my life ~ I hope it is an encouragement to you and brings joy to those that learn, share, or listen!A Joyful Sound Ministries ~ the name of our family music ministry that began in the early 1980’s and remains alive in my heart to this very day. God called my parents when they were very young to live a life of service to our King, dedicating every moment of their lives, their children, their careers, and their hearts to living His Word and beaming the light of Christ wherever they were called to walk, with whomever God placed on their path. From nursing homes, churches, Cook County Prison, homeless missions…God used our family in a mighty way to show Himself through the music, verses, testimony, and simple conversations He would inspire us to share. Through endless prayer, hours of musical rehearsing, and a lot of fun along the way, God gave us the privilege of sharing His love through ministry. I am forever thankful, inspired, and transformed because of what HE did through us! It was always about HIM and I will forever live my life of service to the King, inspired by this incredible springboard of a magical childhood that God gave me through the surrendered heart of my parents.

Piano Solo - Level 5 - Digital Download SKU: A0.828227 Composed by John Hatton. Arranged by Paul Thurmond. 20th Century,Baroque,Christian,Sacred. Score. 7 pages. Paul Thurmond #4968929. Published by Paul Thurmond (A0.828227). Tune: DUKE STREETUse: Prelude, PostludeOne Sunday my church was singing Jesus Shall Reign Where’er the Sun as the opening hymn. It’s our tradition that the last stanza of a hymn is sung in unison, so that I as the organist can change the harmonization and keep things interesting. Sometimes I know ahead of time what I’m going to do, and sometimes I make it up on the spot.On this particular morning I planned on being spontaneous. (Can spontaneity be planned?) When we got to the final stanza, I threw on the 16′ pedal reed and went to town.I don’t know if this is the case for all musicians, but while I’m playing my brain is working on several different levels. Most of these are involved in actually playing the music, but there’s also a running commentary on how things are going. This commentary is usually really boring: It’s going okay. It’s going okay. It’s going okay. Sometimes the messages are more interesting: Uh-oh. She just dropped her mute. I missed that chord; remember to circle it when we’re done. My page turner appears to be on fire.So: We’re in the final stanza of Jesus Shall Reign Where’er the Sun. Big, majestic hymn. Over a hundred congregants and choir members are enthusiastically singing in unison. I’m leading them from the organ with an improvised accompaniment that involves all of my limbs. It’s fair to say that I was concentrating hard.Suddenly the commentary part of my brain breaks in: Dude, your feet are totally playing Canon in D. Cool!Canon in D is the most famous work of Johann Pachelbel, a German composer who preceded Bach by a few decades. It’s overused at weddings, but it’s actually a really good piece of music. The original is for three violins and a basso continuo part, which would usually have been played by harpsichord and cello. In this case, the basso continuo plays the same eight measures again and again throughout the piece. This technique of repetition is called a ground bass. While that’s going on, the violins play several different themes on top of it.When I was improvising that Sunday, my feet had accidentally wandered into that ground bass part, which happened to fit nicely with the melody we were singing. During the sermon (sorry Pastor!) I started going through the violin themes in my head, seeing if any of them could also match up with the hymn tune. Some of them worked and some didn’t. I decided to write a sort of theme and variations, where the hymn tune appears in various forms. Sometimes it’s played along with one of the violin themes, and sometimes a violin theme serves as an interlude on its own. And except for one passage, the left hand is always playing some version of the basso continuo theme. I also changed the meter from 4/4 to 3/4 to make it more interesting. It culminates in a climax worthy of a king. I hope you enjoy it.

Altosaxophone - difficult - Digital Download SKU: S9.Q564397 Version for alto saxophone. Composed by Joerg Widmann. Saxophone - solo - contemporary music. Downloadable, Separate edition. Duration 7 minutes. Schott Music - Digital #Q564397. Published by Schott Music - Digital (S9.Q564397). Jörg Widmann, an internationally sought-after soloist and professor of clarinet at the Freiburg Musikhochschule, displays the exquisite refinement of contemporary clarinet sound in 'Fünf Bruchstücke' (already published) for clarinet and piano (KLB 54) and in the present 'Fantasie' for solo clarinet. While noise, as a means of expression, is given much attention in 'Fünf Bruchstücke', 'Fantasie' is largely based on the usual Romantic melodious sound, though this time with ironic side trips into dance, klezmer and jazz music, the clarinet's equivalent of light music. 'Fantasie' for solo clarinet is my first real piece for my own instrument, the clarinet. With its eccentric virtuosity and its cheerful, ironic fundamental character, it reflects the experience with Stravinsky's 3 Pieces for solo clarinet of 1919 and the tonal innovations which did not appear in music before Carl Maria von Weber's notation for the clarinet, and takes them further in a new way. It is a little imaginary scene uniting the dialogues of different people in close proximity in the spirit of the commedia dell'arte. - Jörg Widmann ...on the interpretation: It would be important to take the title completely literally – which is why the performer should of course play the piece with imagination. The most important information on the structure: the complete absence of bar lines – whenever the piece is played to me by students or other persons, I am always pleased about the player's own ideas and about the fact that the musical text is taken literally and seriously, with all its dynamic and articulation marks, and yet filled with life and imagination. What I always notice, however, is that the rhythmic fast pulse part is often played like an étude, rather than with imagination. What is most important to me, personally, is to take pleasure in making tonal distinctions, even despite the strict timing. Use your imagination and enjoy playing my 'Fantasie'! - Jörg WidmannDie Bearbeitung durch Lois Alén González von Widmanns Fantasie ermöglicht es nun auch Saxophonisten, die für Klarinette komponierte Fantasie, die durch ihre starke Kontrastierung der Charakterveränderungen zu einem ausdrucksstarken Bravourstück geworden ist, spielen zu können.

Instrumental Duet,Piano Euphonium,Instrumental Duet,Piano,Trombone - Level 3 - Digital Download SKU: A0.927030 Composed by Franz Schubert, Kayla Roth. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 27 pages. Kayla Roth #3373343. Published by Kayla Roth (A0.927030). From the composer's program notes included with this purchase:I have taken Schubert’s famous setting and arranged it in a set of musical homages to other composers. I have also included Schubert’s original theme, transposed down to F, and I would recommend playing it twice in the beginning to give your audience a good idea of it.For most of the pieces, I tried to capture the composer’s overall style; however, there are a few particular pieces that are either quoted or used as the stylistic basis, as follows: Mozart - I based this variation, stylistically, on Piano Concerto No. 21 in C major (K.467), specifically movement two (Andante), as well as some of his earliest childhood piano compositions. Symphony 40 in G minor (K.550) is quoted rhythmically. Strauss, Jr. - For inspiration, I used Du und Du, Op. 367, a waltz that is derived from various parts of his beloved operetta, Die Fledermaus. I quoted rhythms from this, as well as from Frühlingsstimmen, Op. 410. Joplin - I didn’t base this on any particular piece of Joplin’s; I tried to include elements that are common in his rags (a short introduction, arpeggiated diminished seventh chords, chromaticism, syncopation over a boom-chuck). Perhaps the best advice comes from Joplin himself: Don’t play this piece fast. It is never right to play ragtime fast. Porter - I had to include an offering from the Great American Songbook! Frank Sinatra recorded several of Porter’s well-known tunes in the 1940s, such as Easy To Love, Night and Day, and I Love You; his renditions of these songs are heavy on the schmaltz and sentimentality, which is exactly what I was trying to achieve in this variation.Bach - The minor variation! I had Fugue in G minor, BWV 578 (Little Fugue) in mind when writing this.der Jodelkönig - As Heidenröslein is a strophic, folk-songesque German piece, I thought it fitting to end the variations with an imitation of traditional Alpine yodeling.  It is named in honor of Franzl Lang, the Yodelking.

Piano Solo - Digital Download SKU: A0.966219 Composed by John Carbon. 20th Century,Contemporary. Score. 92 pages. John Carbon #3586213. Published by John Carbon (A0.966219). The 24 pieces contained in my Short Stories for piano were composed between 2013-2018. I had originally grouped the pieces into a collection titled The Well-Blended Primer (subsequently withdrawn). I substantially revised, in some cases reconceived, the entire collection in 2017-18. Because my original intention was to include pieces that exhibited pitch centricity around each of the 24 possible major and minor keys, the earlier title, refering to J. S. Bach's 2-volume Das wohltemperierte Klavier, seemed to fit. As in Bach's work, some of the pieces in my collection exhibited a pronounced contrapuntal attitude. During the development of the work I had planned to alternate prelude and fugue-like pieces, but the end result was more of a hybrid collection that could be thought of as being influenced by Bach, but even more so by Chopin's group of 24 one-of-each-key Preludes, and systematically key-centered contrapuntal collections by Hindemith and Shostakovich. I was also influenced by shorter character pieces by composers such as Schumann, Debussy and Prokofiev that exhibit a more lyrical, narrative nature, to name only a few composers. In Short Stories, my plan to alternate preludes and fugues, or at least to systematically vary the degree of contrapuntal density, isn't readily perceived. There is certainly enforced variety in pitch centricity, but this feature isn't arranged symmetrically, and there is a range of tonal, modal, chromatic and atonal languages explored in the collection. Stylistically, there are many influences to be heard here. In fact, some of the titles of the individual pieces refer to other piano composers (for example Tea with Claude and Maurice, Czerny's Id, George Sand's Dream and Joplin's Tick). The name of the present work, Short Stories, describes these modest narratives better than the original title and the revised collection is less abstract than the 2013 version. From a pianist's standpoint, I would venture to say, these reconceived pieces are more concerned with color, register and voicings particular to the instrument. Some of the more extensive revisions I made to the original pieces were stylistic ones involving changes in the harmonic language and articulation. In other cases I fleshed out sketch- like miniatures into more substantially developed portraits, or conversely, I deleted what I thought might be considered to be extraneous material that obscured the abbreviated sketch-like nature of the narration. John Carbon

String Quartet String Quartet - Level 4 - Digital Download SKU: A0.869305 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 9 pages. Thomas Oboe Lee #50809. Published by Thomas Oboe Lee (A0.869305). Program notes. I met Lila Brown a year ago when she and members of the Boston Conservatory faculty performed my Octet in D, opus 144 (2012) at Seully Hall. Lila told me she had a summer festival in Salem, NY, and wondered if I would like to write a piece for her. I said sure. Just as in Hollywood, you never say no. At first Lila asked me if I would like to write a companion piece for Anton Webern’s Saxophone Quartet. I said sure!!! One thing led another and somehow I ended up agreeing to write a piano quintet for her. In the meanwhile Lila contacted Delores Stevens, artistic director of the Martha’s Vineyard Chamber Music Festival, and asked her if she would also premiere the work at her festival. Delores did a little research on me and my music online and she said yes. So, here we are. Siamo d’accordo. I wrote my first piano quintet in 1988 for the Apple Hill Chamber Players. That was not the usual quintet of a piano and string quartet. The Schubert Trout quintet was my model: piano, violin, viola, cello and double bass. I titled that work, Piano Quintet … apple strudel (1988). At that time I was a huge fan of the Entenmann’s Apple Strudel. I imagined the piano being encased/surrounded by the four string instruments. My first real piano quintet was written for the Formosa Quartet and pianist Tammy Lum. They premiered the work at Nyack College during the spring of 1988. My current piano quintet (no. 2) is titled Pq2 … (2014). It is a work in five movements. I. Moderato … Trio II. Adagio … III. Tsiaj 1 … Allegro IV. Tsiaj 2 … Prestissimo! V. Adagio What’s tsiaj? I got this from Charles E. Ives. The title of the middle movement of his Piano Trio is TSIAJ. It’s an acronym of This Scherzo is a joke. Enjoy!

String Quartet String Quartet - Level 4 - Digital Download SKU: A0.869307 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 8 pages. Thomas Oboe Lee #50811. Published by Thomas Oboe Lee (A0.869307). Program notes. I met Lila Brown a year ago when she and members of the Boston Conservatory faculty performed my Octet in D, opus 144 (2012) at Seully Hall. Lila told me she had a summer festival in Salem, NY, and wondered if I would like to write a piece for her. I said sure. Just as in Hollywood, you never say no. At first Lila asked me if I would like to write a companion piece for Anton Webern’s Saxophone Quartet. I said sure!!! One thing led another and somehow I ended up agreeing to write a piano quintet for her. In the meanwhile Lila contacted Delores Stevens, artistic director of the Martha’s Vineyard Chamber Music Festival, and asked her if she would also premiere the work at her festival. Delores did a little research on me and my music online and she said yes. So, here we are. Siamo d’accordo. I wrote my first piano quintet in 1988 for the Apple Hill Chamber Players. That was not the usual quintet of a piano and string quartet. The Schubert Trout quintet was my model: piano, violin, viola, cello and double bass. I titled that work, Piano Quintet … apple strudel (1988). At that time I was a huge fan of the Entenmann’s Apple Strudel. I imagined the piano being encased/surrounded by the four string instruments. My first real piano quintet was written for the Formosa Quartet and pianist Tammy Lum. They premiered the work at Nyack College during the spring of 1988. My current piano quintet (no. 2) is titled Pq2 … (2014). It is a work in five movements. I. Moderato … Trio II. Adagio … III. Tsiaj 1 … Allegro IV. Tsiaj 2 … Prestissimo! V. Adagio What’s tsiaj? I got this from Charles E. Ives. The title of the middle movement of his Piano Trio is TSIAJ. It’s an acronym of This Scherzo is a joke. Enjoy!

String Quartet String Quartet - Level 4 - Digital Download SKU: A0.869304 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 9 pages. Thomas Oboe Lee #50815. Published by Thomas Oboe Lee (A0.869304). Program notes. I met Lila Brown a year ago when she and members of the Boston Conservatory faculty performed my Octet in D, opus 144 (2012) at Seully Hall. Lila told me she had a summer festival in Salem, NY, and wondered if I would like to write a piece for her. I said sure. Just as in Hollywood, you never say no. At first Lila asked me if I would like to write a companion piece for Anton Webern’s Saxophone Quartet. I said sure!!! One thing led another and somehow I ended up agreeing to write a piano quintet for her. In the meanwhile Lila contacted Delores Stevens, artistic director of the Martha’s Vineyard Chamber Music Festival, and asked her if she would also premiere the work at her festival. Delores did a little research on me and my music online and she said yes. So, here we are. Siamo d’accordo. I wrote my first piano quintet in 1988 for the Apple Hill Chamber Players. That was not the usual quintet of a piano and string quartet. The Schubert Trout quintet was my model: piano, violin, viola, cello and double bass. I titled that work, Piano Quintet … apple strudel (1988). At that time I was a huge fan of the Entenmann’s Apple Strudel. I imagined the piano being encased/surrounded by the four string instruments. My first real piano quintet was written for the Formosa Quartet and pianist Tammy Lum. They premiered the work at Nyack College during the spring of 1988. My current piano quintet (no. 2) is titled Pq2 … (2014). It is a work in five movements. I. Moderato … Trio II. Adagio … III. Tsiaj 1 … Allegro IV. Tsiaj 2 … Prestissimo! V. Adagio What’s tsiaj? I got this from Charles E. Ives. The title of the middle movement of his Piano Trio is TSIAJ. It’s an acronym of This Scherzo is a joke. Enjoy!

This collection of nine accessible reflections of popular African American hymn tunes is useful throughout the church year.Contents:I Want Jesus to Walk with MeI’ve Got Peace Like a River / Swing Low, Sweet ChariotIn Christ There Is No East or West (Setting I in Bb)In Christ There Is No East or West (Setting II in C)Keep Your Lamps Trimmed and BurningMy Lord! What a MorningSomebody’s Knocking at Your DoorWe Are Climbing Jacob’s LadderWe Shall Overcome

Solo Guitar - Level 3 - Digital Download SKU: A0.1420186 By Keith Gehle. By Keith W. Gehle. Celtic,Irish,New Age,Religious,Sacred,Wedding. Individual part. 3 pages. Keith Gehle #1001604. Published by Keith Gehle (A0.1420186). Variations on an Irish Theme (Be Thou My Vision) was recorded as part of Keith’s album of 20 original guitar solos entitled Wintersong released in 2002.. The opening theme is followed by three variations and includes detailed fingerings in standard notation. There’s also a version available with TAB on this site. This ancient Irish melody can serve as a beautiful interlude during church services, gigs or wedding ceremonies. Here’s what one listener wrote of Wintersong:As a classical guitarist, I'm always on the lookout for new compositions. I have scoured the internet looking for new guitar music and Keith's Winter Song is the best thing I have seen in a year. If you like the sound of soothing classical guitar, I know you will like listening to this CD. If you’re a guitarist, I highly recommend buying the book of sheet music from Keith's website. I play at least a half dozen of these pieces at my gigs and I just love them. They range from easy to advanced intermediate in difficulty. I can't wait for Keith's next CD Songs of December which will be out for the holiday season!- Larry B.

Choral Choir (SSA) - Level 3 - Digital Download SKU: A0.1265871 By Kathy Mattea. By Pat Alger and Ralph Murphy. Arranged by Dan Garrett. Country,Folk,Pop,Religious. Octavo. 10 pages. Daniel Garrett #858635. Published by Daniel Garrett (A0.1265871). Kathy Mattea recorded Seeds for her album, Lonesome Standard Time. This SSA and Piano arrangement will be an audience favorite.Lyrics:Sometimes I stop on my way home and watch the children playAnd I wonder if they wonder what they'll be some daySome will dream a big dream and make it all come trueWhile others go on dreaming of things they'll never doWe're all just seeds in God's handsWe start the same but where we landIs sometimes fertile soil and sometimes sandWe're all just seeds in God's handsI saw a friend the other day, I hardly recognizedHe'd done a lot of living since I'd last looked in his eyesHe told his tale of how he'd failed, the lessons he'd been taughtBut he offered no excuses and he left me with this thoughtWe're all just seeds in God's handsWe start the same but where we landIs sometimes fertile soil and sometimes sandWe're all just seeds in God's handsAnd as I'm standing at a crossroads once againI'm reminded we're all the same when we beginAnd in the end?We're all just seeds in God's handsWe start the same but where we landIs sometimes fertile soil and sometimes sandWe're all just seeds in God's handsWe're all just seeds in God's hands

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.