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.

Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1315461 Composed by Francis Poulenc and Guillaume Apollinaire. Arranged by Nicole Elyse DiPaolo. 20th Century,Classical. Score. 11 pages. Nicole Elyse DiPaolo #904195. Published by Nicole Elyse DiPaolo (A0.1315461). The first of its kind, this is a genuinely playable piano/vocal reduction of Non Monsieur mon mari from Poulenc and Apollinaire's Les mamelles de Tiresias. Sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic, poorly notated, and technically demanding vocal score devoid of needed key signatures. Pianists may now enjoy playing this aria comfortably, without risking strain/injury by trying to play reams of excessive 16ths spread out in ways designed for Poulenc's obviously large hands. A few enharmonic respellings in this edition will also provide greater musical understanding for both singers and pianists. This collectionâ??s reductions boast several unique features: 1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or â??fudgedâ?� with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what Iâ??ve provided.2. Iâ??ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a â??sink or swimâ?� accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composerâ??s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected, when possible, so as to result in the least possible disruption to the pianist. When an inevitable page turn precedes a potentially surprising note or chord, Iâ??ve included the next downbeatâ??s notes in cue-size stemless noteheads at the end of the preceding measure.5. I have preserved beams in 8th and smaller note values within the vocal parts so that pianists, some of whom might not be accustomed to syllabic beaming conventions, will find it easier to follow the singerâ??s rhythms while reading potentially unfamiliar arias.6. When known, Iâ??ve noted alternate cuts that singers might like to take within certain arias.7. In some cases Iâ??ve modernized spelling conventions for easier readability (for example, by replacing â??Ã?â?� with â??ssâ?� in German arias) and enharmonically respelled brief passages or added key signatures for greater clarity.

Percussion Ensemble Hand Drum,Marimba,Shaker - Level 3 - Digital Download SKU: A0.1262203 Composed by Traditional Zimbabwe. Arranged by Adam Miller. Folk,Multicultural,Traditional,World. 7 pages. Adam Miller #855243. Published by Adam Miller (A0.1262203). A number of years ago, I had the opportunity to join a team that traveled to Uganda, Africa as part of a mission group.  While there, we had the pleasure of seeing a traditional marimba and percussion ensemble perform.  A longtime marimbist and avid percussionist, I spent some time following the concert visiting with some of the performers.  Although their music is passed down through visual and audial instruction (rather than traditional western notation) the group’s leader was kind enough to teach me one of their traditional songs.  Years later, I came across my (copious) notes from that trip and decided at last to write down what I had learned.What makes Chamtengure such a delight to perform – aside from its energy and joy – is its versatility.  Although notated for two 5-octave marimbas, larger ensembles have the option to double parts in various registers for a fuller sound.  Combined with the encouragement to include shaker and hand drums ad lib throughout the piece (except where noted otherwise) this has the ability to fit nearly any ensemble size.  Fast-paced, repetitive two-measure patterns that build and play off each other makes Chamtengure a guaranteed success with ensembles and audiences alike!

B-Flat Clarinet Solo - Level 5 - Digital Download SKU: A0.1266397 By Bill Whitley. By Bill Whitley. Arranged by Bill Whitley. 20th Century,Classical,Contemporary. Individual part. 9 pages. Musica Semplice #859152. Published by Musica Semplice (A0.1266397). A tip of the hat to Stravinsky's Three Pieces,  this and my String Trio (also 2001) I see now as my last 20th Century composition.  Not only was the 20th century over, but these two were the last to fit the 20th century, avant-garde ethos.  By 2003, I'd already begun to move away from most of the Western European Art Music tradition.1. Dance2. Verset3. RantMusic for Solo Clarinet was written in the fall of 2001. These were spontaneous, uncommissioned, un-requested works that seemed to come from nowhere. But looking back, I see that they encapsulate a lot of what I was feeling (what everyone was feeling) in the fall of 2001: confusion, sadness, anger, disappointment... Each movement features one of the three primary ‘colors’ produced by the three different registers of the clarinet, and each is a sonata-allegro form, where tiny gestural figures are used as themes.

Concert band - Grade 1 - Digital Download SKU: IZ.CBS1613-S Composed by Marsha Chusmir Shapiro. Score. 19 pages. Imagine Music - Digital #CBS1613-S. Published by Imagine Music - Digital (IZ.CBS1613-S). 9 x 12 in inches.Composer's NotesFor several years I taught at a private Catholic school, the Bascillica School of St. Paul. I was exposed to some beautiful melodies from the weekly Masses, including one I particularly remembered, but which was under copyright. So I decided to create a similar modal line and open the composition as if it were being sung in a church. I play the French horn which is why I chose that voice to express the theme. The variations which followed were to begin as historically simple, but move toward a more contemporary sound. I have always loved the percussive sound of Vaclav Nelhybell's music and that is what I intended for the ending.

Guitar - Level 3 - Digital Download SKU: A0.1420172 By Keith Gehle. By Keith W. Gehle. Celtic,Irish,New Age,Religious,Sacred,Wedding. Guitar Tab. 5 pages. Keith Gehle #1001600. Published by Keith Gehle (A0.1420172). 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 with TAB for ease of learning. 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.

String Orchestra - Level 3 - Digital Download SKU: A0.1422018 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Leonard Ingrande. Contemporary,Film/TV,Pop,Rock,Singer/Songwriter. 19 pages. Ingrande Music Production #1003338. Published by Ingrande Music Production (A0.1422018). What was I Made For? is a soulful ballad that delves into the universal question of purpose and self-discovery.  With poignant lyrics and a haunting melody, this arrangement for string orchestra and flex instrumental solos, explores the journey of introspection, gappling with one's place in the world, and the search for meaning in life.  A beautiful and touching addition to your next concert!  This arrangement invites listeners to reflect on their own existential inquiries.  Through its introspective and stirring arrangement, What Was I Made For? resonates deeply with anyone who has ever questioned their purpose or felt adrift in the vastness of existence.