Choral Choir,Choral - Level 2 - Digital Download SKU: A0.1182870 By Stuart Richard Brown. By Stuart Richard Brown. Arranged by Stuart Richard Brown. Christian,Easter,Praise & Worship,Religious,Sacred. 14 pages. Stuart Brown Music #782619. Published by Stuart Brown Music (A0.1182870). The composer writes: 'On That Cross' is a powerful reflection on the crucifixion of Jesus Christ. I came up with the lyrics at around 3am in the morning of 3rd December 2014 sitting at a desk in room 703 of the De Syloia Hotel in Hanoi, Vietnam. Often I find that my periods of working abroad give me the space to think of things in new ways. This song is a good example of that.One look at the first page of the score of 'On That Cross' is all you need to realize that this is not a case of a choir singing with a piano accompaniment. I put the piano part above the choir in order to dispel that misconception. So if it's not that, what is it? I wanted to demonstrate that it is possible to approach a subject from two completely different points of view, without either point of view being compromised by the other, and yet the result can nevertheless be a beautiful synergy. That is what the pianist and the choir are doing here. Each is meditating upon the cross of Christ, but from two totally unrelated points of view and yet somehow combining in a way that is almost hypnotically beautifully. There is little obvious relationship between the choir's and the piano's music; and yet each is reconciled to the other ... and there's a very good reason why I wanted the music to speak of such reconciliation.In late 2014 people in Iraq were being beheaded, crucified and generally killed in the most brutal and sadistic manner possible. Their only ‘crime’ was to dare to call themselves Christians. You can say what you like but in my book nobody has the right to tell anybody else what they should believe, much less murder them on religious grounds. The thing that incensed me almost to the point of incandescence was that the perpetrators of this unspeakable evil dared to justify their actions by claiming that they were acting on behalf of their god. So in such frame of mind I started to write the lyrics to 'On That Cross'.The first words that came into my mind were “Oh men who dare to call on gods to justify your hatred – of this be sure …� and I wanted to follow that with threats of eternal damnation, torture in hellfire and so on. Except that the words that flowed out of my fingers onto my computer screen were not like that at all. “Of this be sure – I love you still, my cross your salvation from all the sin of man.�It doesn’t get much more powerful than that. I may be incapable of loving the people of ISIS, ISIL, DAESH or whatever one calls them, but my God isn’t. He created them, he sent his Son to die for them … and he is even now ready to save them, as he is you and me. That’s grace.A small group of us sang this at a Good Friday united service in 2016. We sang it unannounced, at the end of the service, when one would have expected people to start getting up from their seats and leaving the church. Nobody did. Not one single person moved while we sang..

Large Ensemble Choir - Level 3 - Digital Download SKU: A0.747194 Composed by Christopher R. Brown. Christian,Gospel,Praise & Worship,Sacred. Score and parts. 92 pages. Christopher Brown #4601913. Published by Christopher Brown (A0.747194). About the song: This anthem begins by compelling the listener and the performer to consider the parable of the hidden treasure and the pearl. The second verse reflects on David's superlative description of God's Word in Ps. 19. In his letter to the Philippians, Paul speaks of the surpassing worth of knowing Christ when compared to everything else in this life. The lyrics of this song are intended to echo these Truths, encourage the believer, and testify to the incomparable gift of entering into the Kingdom of God, understanding His Word, and being strengthened and set free to do the good works that He prepared in advance for us to do.Can be performed with piano accompaniment only, OR with additional band members (rhythm chart included), OR with full orchestra.Please Note:You can purchase individual copies of the choral score separately on Sheet Music Plus. Performance of this piece requires the purchase of one choral score per singer.Included in your Purchase:Full ScoreChoral Score (SATB with Solo)Piano AccompanimentRhythm ChartDrumsetFlute 1, 2Oboe (opt. Soprano Sax doubles)Clarinet 1, 2Horn 1, 2 (opt. Alto Sax doubles)Trumpet 1, 2Trumpet 3Trombone 1, 2 (opt. Tenor Sax doubles)Trombone 3/ Tuba (opt. Bari Sax doubles)Percussion 1, 2HarpViolin 1, 2ViolaCelloString Bass (opt. Bass Clarinet/ Bassoon doubles)Lyrics:Verse 1Like a treasure in a field,Is the matchless worth of Christ.For the kingdom of heaven, I give my life.Like a pearl of great value,Perfect and pure.I leave it all behind ‘cause of this I’m sure.Chorus 1He called out my name,And broke ev’ry chain,Love so amazing, so divine!He rescued my soul,And made my heart whole,Now I am His and He is mine!I’m taking up my cross,And I count it all as loss.Nothing compares to what I have in the Lord.Verse 2More precious than gold,Is the Word of the Lord.Greater and higher than anything this world affords,It is sweeter than honey,Straight from the comb.My delight is in Jesus, I no longer walk alone.Chorus 2He called out my name,And broke ev’ry chain,Love so amazing, so divine!He rescued my soul,And made my heart whole,Now I am His and He is mine!I’m taking up my crossAnd I count it all as lossNothing compares to what I have in the Lord.Bridge (x2)In the Lord I find strength for every day, In the Lord every fear is washed away.In the Lord hope and peace are here to stay,Whatever comes my way, I will lift my voice and say.Key ChangeChorus 3He called out my name,And broke ev’ry chain,Love so amazing, so divine!He rescued my soul,And made my heart whole,Now I am His and He is mine!I’m taking up my cross,And I count it all as loss.Nothing compares to what I have in the Lord.Nothing compares to what I have in the Lord.Nothing compares to what i have in the Lord.

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.

Soprano voice,Vocal Solo - Digital Download SKU: A0.799614 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 12 pages. Nicole Elyse DiPaolo #5022031. Published by Nicole Elyse DiPaolo (A0.799614). The first of its kind, and the sixth entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and piano/vocal reduction of Grossmächtige Prinzessin, Zerbinetta's famous aria from Strauss's Ariadne auf Naxos (second version, 1916). Please note that the version on this page is a cut beginning from Noch glaub' ich and the complete aria, from rehearsal nos. 100-130, is available separately. Coloratura 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 and sometimes unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury.In addition to the current cut, one beginning at So war es mit Pagliazzo is also available. To see previews of those sections within the aria, please visit their respective SheetMusicPlus pages.All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or fudged 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 I’ve provided.2. I’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 sink or swim accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composer’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 so as to result in the least possible disruption to the pianist when possible. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing ß with ss in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.About the Arranger: Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .

Soprano voice,Vocal Solo - Level 5 - Digital Download SKU: A0.799615 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 9 pages. Nicole Elyse DiPaolo #5022033. Published by Nicole Elyse DiPaolo (A0.799615). The first of its kind, and the sixth entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and piano/vocal reduction of Grossmächtige Prinzessin, Zerbinetta's famous aria from Strauss's Ariadne auf Naxos (second version, 1916). Please note that the version on this page is a cut beginning from So war es mit Pagliazzo and the complete aria, from rehearsal nos. 100-130, is available separately. Coloratura 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 and sometimes unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury.In addition to the current cut, one beginning at Noch glaub' ich is also available. To see previews of that section within the aria and a preview of the complete aria, please visit their respective SheetMusicPlus pages.All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or fudged 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 I’ve provided.2. I’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 sink or swim accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composer’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 so as to result in the least possible disruption to the pianist when possible. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing ß with ss in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.About the Arranger: Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .

Soprano voice and tenor voice soli, SATB choir unaccompanied - Moderately Difficult - Digital Download SKU: MQ.8323-E Composed by David Conte. Advanced/Collegiate. Secular, 21st Century, Americana, Children, Creation/Nature, Hope/Assurance. Instrument part. 9 pages. Duration 5 minutes, 42 seconds. E. C. Schirmer Music Company - Digital #8323-E. Published by E. C. Schirmer Music Company - Digital (MQ.8323-E). UPC: 600313483233. English. The three a cappella choral pieces that comprise “A Whitman Triptych� were composed between 2012 and 2014. O Setting Sun was commissioned by the Madison Chamber Choir, Madison, Wisconsin, Anthony Cao, conductor, and was premiered on April 20th, 2012. “What is the Grass� was composed for Cappella SF, Ragnar Bohlin, conductor, and is being premiered on tonight’s concert. Facing West was commissioned in celebration of the 75th anniversary of the Golden Gate Bridge by the International Orange Chorale, Zane Fiala, conductor, and was premiered on May 27th, 2012. I first set Whitman to music in 1986,when I adapted part of “When Lilacs Last in the Dooryard Bloomed� as the basis for my composition “Invocation and Dance.� I went on to set “Good-Bye, My Fancy� for Male Chorus and Soprano Saxophone in 1992, and “Song of the Open Road� for Mixed Chorus and Piano in 2004. Like so many composers, I have found the visionary quality of Whitman’s verse inspiring; the vigor and intensity of the poetry seem naturally to draw out music. Facing West is drawn from the Children of Adam book from Walt Whitman's Leaves of Grass. The full title of the poem is Facing West From California's Shores. Though Whitman never visited California, his biographer Justin Kaplan made the insightful observation that he imagined California's shores to be the starting point for a journey through time and culture. Here was Walt, 'a child, very old,' facing home again, looking over to it, joyous, as after long travel, growth, and sleep, asking: 'But where is what I started for, so long ago?/And why is it yet unfound?' The invitation from the International Orange Chorale to compose a piece in honor of the 75th anniversary of the Golden Gate Bridge led me easily and naturally to this great poem. The tone of Facing West is rich and complex, and draws on one of Whitman's favorite themes of using travel to distant lands as a metaphor for spiritual development. In his poem, Whitman strikes notes of reflection, of longing for adventure, and ultimately ends with a question. The continuing relevance of this question is for me beautifully addressed by the contemporary American writer Edmund White in his 1980 book States of Desire. To paraphrase somewhat, White writes: California is where dreams may come true, and the problem it presents is whether, after all, we wanted these particular dreams to be fulfilled - or would we have preferred others? Did we know what price these dreams would exact? Did we anticipate the ways in which they would unsuit us for the business of daily life? Or should our notion of daily life itself be transformed? For Americans, California's coast is as far as one can go in establishing new roots and new ways of living. As a transplanted Midwesterner who has made California his home for nearly three decades, I experience the Golden Gate Bridge as a beautiful monument to the aspirations and dreams of a restless and inventive people, qualities that Whitman's poem captures perfectly. -David ConteDuration: 5:42

Piano Solo - Level 2 - Digital Download SKU: A0.912632 Composed by Johnson Lee. Contemporary. Score. 2 pages. Johnson lee #1920997. Published by johnson lee (A0.912632). This tune was premiered at the funeral of the first Prime Minister of Singapore Mr Lee Kuan Yew. This tune pays tribute to the people who have made contributions to this world. Their sacrifice and generosity have enriched us. Their love and spirit is passed on to the future and their example for us to follow. https://www.youtube.com/watch?v=6lJP6M6klPkRemarks from my friend Samantha Tang:I like the first half and very last part. Last Part is like a link back to the beginning, like a you went round a full circle, depicting life cycle. Beginning Part is is soothing and gradual; Somewhat like a child starting his life. It builds up and peak like a peak of one's life or career. There is one part I like, sounded like a mix of regrets and acceptance.   When I listen to this piece of music, the word reflections comes to my mind. The second half that sounded bold reminds me of part of one's life where he was leading at his best. Its a peaceful Song with a lot of emotions that developed progressively.Samantha showed this video to a boy with Autism and he calmed down. I was told that the usual Mozart music does not calm him down anymore and he paid no interest. I like the first half and very last part. Last Part is like a link back to the beginning, like a you went round a full circle, depicting life cycle. Beginning Part is is soothing and gradual; Somewhat like a child starting his life. It builds up and peak like a peak of one's life or career. There is one part I like, sounded like a mix of regrets and acceptance.   When I listen to this piece of music, the word reflections comes to my mind. The second half that sounded bold reminds me of part of one's life where he was leading at his best. Its a peaceful Song with a lot of emotions that developed progressively. https://www.youtube.com/watch?v=6lJP6M6klPkRemarks from my friend Samantha Tang:I like the first half and very last part. Last Part is like a link back to the beginning, like a you went round a full circle, depicting life cycle. Beginning Part is is soothing and gradual; Somewhat like a child starting his life. It builds up and peak like a peak of one's life or career. There is one part I like, sounded like a mix of regrets and acceptance.   When I listen to this piece of music, the word reflections comes to my mind. The second half that sounded bold reminds me of part of one's life where he was leading at his best. Its a peaceful Song with a lot of emotions that developed progressively.Samantha showed this video to a boy with Autism and he calmed down. I was told that the usual Mozart music does not calm him down anymore and he paid no interest.

Soprano voice,Vocal Solo - Level 5 - Digital Download SKU: A0.1185473 Composed by Maurice Ravel. Arranged by Nicole Elyse DiPaolo. Classical,Opera. 6 pages. Nicole Elyse DiPaolo #785149. Published by Nicole Elyse DiPaolo (A0.1185473). The first of its kind, this is a genuinely playable and slightly-to-moderately simplified piano/vocal reduction of Arrière! Je réchauffe les bons, the Fire Aria from Ravel's L'enfant et les sortilèges (1925)​. 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 often chaotic vocal score, particularly if the murmuring section after the standard audition cut, which is very poorly rendered in the standard reduction, is also being included. Pianists may now enjoy playing this aria comfortably, without risking strain/injury or audition-room chaos.This Accessible Accompaniment is more generous than standard audition cuts, ending just before L'enfant re-enters with j'ai peur. It is 91 measures in total and ideal for recitals as well. All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged� 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 I’ve provided.2. I’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 “sink or swim� accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page. 3. In addition to the composer’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 so as to result in the least possible disruption to the pianist when possible. 5. When known, I’ve noted alternate cuts that singers might like to take within certain arias. 6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing “ß� with “ss� in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity. I’ve also replaced some text “cresc.� and “dim.� markings with hairpins, which are easier to see in high-pressure sight-reading situations.About the Arranger:Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .

Piano,Violin - Level 4 - Digital Download SKU: A0.1261681 Composed by Robert Daniel. Broadway,Classical,Film/TV,Musical/Show. 25 pages. RDMusicStudios #854759. Published by RDMusicStudios (A0.1261681). On April 19, 2019, I started writing my first composition, His Memory, on my first album, Show Your Pride. The Show Your Pride album was influenced by my best friend, Nigel Shelby, who tragically passed away by suicide after experiencing bullying for being outed as gay. It has been a few years since his death turned a national spotlight on the issue of LGBTQIA+ mental health and bullying. He was 15 years old at the time of his passing. I feel like I've been stabbed in the heart when I found he was gone. It was the first time I had lost anybody that I was close to. I was in a lot of pain at the time. Losing my best friend is one of the most difficult and heartbreaking experiences I have had in my life. This album is telling a coming-out story about a bisexual musician going on a self-discovery journey to find his true authentic self. I first met Nigel in mid-2018 when I was nervous, struggling with depression, and coming out as bisexual, so I gathered enough strength and confidence to come out to him. He's very kind and supportive of me. He was brave enough to come out to me as well. He has been a really good friend and my spirit guide as long as I've known him. He was understanding, thoughtful, and had a maturity about him that I admired. I feel happy and honored to have known him and had the best friends with him. I truly believe he is watching over me every day. In this inspirational, heartbreaking piece, His Memory, I will share a coming-out story about two boys who came out to each other, spending their friendship together until one of them passes away. This piece is based on a true story of how I coped with grief, dealing with depression about my best friend's passing, and how I found happiness within myself after his memorial service. It drew inspiration from many compositions and soundtracks, including Where The Sky Has No Stars by Katahj Copley, Lose You Now by Lindsey Stirling (feat. Mako), You Will Be Found from Dear Evan Hansen by Benj Pasek & Justin Paul, April Sky by Lin Chin Cheng, and Avatar The Last Airbender by Jeremy Zuckerman. These compositions I mentioned express hope and spark memories of lost loved ones. This piece is in 3 Acts: Friendship, I Lost You. and His Memory Lives On. Each one was inspired by actual events. Act I: Friendship Act II: I Lost You Act III: His Memory Lives On While you are listening to this piece, I want you to think about someone you love who is no longer with you. If you're one of those people who lost someone special to you, I am so sorry for your loss. Just know that you are not alone. Don't try to run and hide from your grief. Whatever your grief experience, it's important to be patient with yourself and allow the process to naturally unfold. You will grieve for as long as you need to, but you are a strong person and will find your way through this. Life is so precious. Cherish every moment with your loved ones. Coming out is one of the most difficult things a person can do, but if you are having difficulty or are unsure about it, just know that there are people out there who do love you for who you are. Learn to embrace your authentic self. Don't let your sexual orientation define who you are. The right people will accept you and those are the only people who matter. Be yourself, be happy, and do what you feel. Don't care so much about what others think and enjoy your life! Keep following your heart and don't be afraid to stand out!

Piano Solo - Digital Download SKU: A0.1012700 Composed by Moni Bergo. Contemporary. Score. 8 pages. Moni Bergo #5742813. Published by Moni Bergo (A0.1012700). Music and song composed by me♫ *'¨` * • .¸¸. ♫ ♫ * Addiction'¨` * • .¸¸. ♫ I seem you  Free Instead I’m  chained ….   He approaches smiling I dislike him  already there are few  people on the subway but he  sits  right here. I ugly, a bit 'rickety conscious of my limitations I’m  lost in the clouds and I do my own business   He looks at me and is insistent but to me what he will wants? It 'a handsome man and elegant maybe he's short-sighted, who knows? From his piercing gaze I feel pierce and I'm already tired and in the face I want to shout   Do you look like free but I’m  in love Give me a piano, a guitar and I spend all day I become hysterical when they bring  me on vacation because the seventh and turned just do not know do not chronically  ill and I’m  hopeless But I do not want drugs for this my addiction ..   You should come and bursts into the veins with your chains hold me more I feel the boundless energy flows between the fingers and only you can and you ease my sorrows You are my mate  in the darkest moments You will protect me by my excesses in this fake world spark  you will be   At the end   decide his self and apostrophizes me so You're my new neighbor, my house is right there, and at evening  you enchanted me and  would listen to you for hours while you  playing the piano with you I can fly and I know that maybe it's late But I would like to try I know that to children  you   give  lesson and also I want to learn   But that smart  man! I like him already I tell him the story of the slap that he risked a little while ago He tells me he has a mate who loves him  sweetly I'd take kicks diffident damn !!    We free fly on our agreements in dissonance forgetting every problem, big trouble or task chronically ill of my own addiction which infects, spreads and  enters into his life only souls and I bare his  essence while  listening  him  solmizate enters heaven in this room ..                                                                                   . Monica Bergo

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1262362 Composed by Sally Whitwell. 21st Century,Contemporary. Octavo. 17 pages. Sally Whitwell #855402. Published by Sally Whitwell (A0.1262362). On the morning of 2 March 2020, I finished writing the first draft of this song. It was the same morning that the New South Wales Rural Fire Service announced that for the first time since July 2019, the state was free of active bush and grass fires.At the time it felt quite euphoric. We’d been through a lot. Little did we know what was coming just a few days from then, when the Covid19 global pandemic reached our shores. It’s a virus that would kill millions across the world, and disable millions more, long term. It forced us, globally, into a kind of reckoning the like of which we had never experienced before. Non pharmaceutical controls like lockdowns, mask mandates, social distancing and ventilation standards were employed to keep us safe from this airborne virus, whilst scientists worked round clock to develop vaccines and treatments.Technically, the declaration of a pandemic is still active, but governments and people have somehow decided for themselves that it is all over. No one takes any precautions any more. Governments have stopped reporting statistics. People who know they are infected are going about their business with no thought for others. Meanwhile, many of the immune-compromised, the disabled, the vulnerable, are unable to safely leave their homes and engage in activities out in the world. I know this, because I am a carer for a vulnerable person.What this whole exercise has taught me is that people in the world are actually much less kind than I thought they were. Humans do not really care for each other. People attack me for wearing a mask, tell me that I’m virtue signalling and that I look ridiculous (as if I care how I look). I’ve asked questions about workplace Covid safety and been informed that it’s “a bit rich� that I’m asking at all, when everything is now safe. A friend’s diagnosed Long Covid symptoms were cruelly minimised or completely dismissed “Oh, it’s not Covid. How old are you? In your forties? It’s your hormones, it’s the menopause.� The fatal combination of sheer selfishness, rampant misinformation and DISinformation continues, whilst people waltz around spreading a deadly virus with no thought for the grief that will undoubtedly ensue.It boils down to this: if we want to continue as a species and to have a planet on which to reside, we have to stop with the Self Care and start with the Community Care. A choir is the perfect instrument for expressing these notions, through the unique power of the massed first person plural. My wish for this piece is that it spurs performer and listener alike into some kind of action. Please consider the effect your actions have on others, and on the planet, and make any changes necessary, however inconvenient or difficult they are. Otherwise, there’s really no point.Sally Whitwell 11 July 2023.

Instrumental Solo,Piano and Keyboard - Level 5 - Interactive Download SKU: A0.1162887 By Peter Saltzman. By Peter Saltzman. This edition: Interactive Download. Classical,Jazz. Individual part. 8 pages. Duration 196. Salt Muse, Inc #4nxW5iY27ChHy497Z90vlj. Published by Salt Muse, Inc (A0.1162887). Key: F minor.No, it's not really for three hands; it just feels and (at times) sounds like it. This etude was supposed to be an R&B tune. When I first came up with the melody (1992), I tried to write lyrics. But nothing worked. I then tried to make it a band instrumental, with electric guitar taking the lead. Nah, too corny sounding. But I liked the tune. So I persisted and tried it as a solo piano piece. The thing is this: it retains its provenance as a piece for band because the two hands are basically acting as the band. Nothing unusual about that with regard to solo piano: it's always kind of a band or orchestra. What's different here is the left hand is usually playing both the tune and bass line. The right hand, when it joins the party at measure nine, acts like the backup singer (or maybe the guitar that was supposed to take the lead.) Remember that the bottom staff, as indicated, is always 8vb, except for the last measure. And should you take up the challenge to learn this, it is fatiguing but worth the effort.

String Orchestra - Level 5 - Digital Download SKU: A0.861939 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 59 pages. Mark O'Connor Musik International #6208193. Published by Mark O'Connor Musik International (A0.861939). Harmony (string parts – violin and string orchestra) MO168C-GString Parts (score and parts available)Music by Mark O’Connor39 pages - 12:00 minutes in length Harmony Musicians For Harmony, an organization founded in response to the tragic events of 9/11, asked me to compose a chamber orchestra piece for their September 11, 2006 concert in New York City . I have composed Harmony for this remembrance concert. What I wished to do in composing this music was to reveal a more Middle Eastern tonality to my style which is derived from American folk fiddle music. As I become more and more familiar with American music in my own musical journey, I also learn that the music I like so much has many layers. It exposes mystery in its origins when one cares to peel back these layers. It is likely these Middle Eastern cultures play more of a role in American fiddling (and American music in general) than previously thought.In Harmony I use descriptive phrases printed in the score to indicate the temperament and journey of the music. Reaching Out begins the piece with its inviting and inquisitive drones. Throughout the piece there are several interpretations of the material with canonic and fugal writing. The music of Harmony is based on the same material constructed in a slow tempo in the beginning, a moderate tempo in the middle of the piece, and a fast fiddling tempo near the end. With hope in heart and music, I contribute Harmony on this painful day of remembrance. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2006 Composed by Mark O’ConnorCommissioned by Musicians For HarmonyFor the 5th Anniversary Concert for Peace 2006Merkin Hall, New York, NY – September 11th, 2006 Catalogue Number MO168C-GCopyright © 2006 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com