Woodwind Ensemble,Woodwind Quartet Flute,Piccolo - Level 2 - Digital Download SKU: A0.1175499 Composed by Wolfgang Amadeus Mozart. Arranged by Heinz Kohlbauer. Classical,Easter,Praise & Worship,Wedding. 17 pages. Heinz Kohlbauer #775636. Published by Heinz Kohlbauer (A0.1175499). There's the saying: What's worse than a Piccolo? Well, 2 Piccolos! 😂Okay! What do you think of 4 Piccolos then? You might think, it's hell!But the truth is: You get a heavenly and glassy sound, perfectly imitating the sound of a Glass Harmonica, and that even an octave higher. And when do you really find a Glass Harmonica, let alone a player for this rare instrument?And you don't want to miss out on this gorgeous piece, which is perfect for weddings, funerals and other festive occasions.All you need is 4 Flutists who own a Piccolo.In the original C-major key, one of the four Piccolos needs a C-Foot, but it can easily be substituted by a Flute (seperate part included).As an option a version transposed to D-major is included as well, which can easily performed with 4 conventional Piccolos.

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 Solo - Level 3 - Digital Download SKU: A0.1205194 Composed by M.Y Owusu. Contemporary. Score. 3 pages. M.Y Owusu #803377. Published by M.Y Owusu (A0.1205194). Aphelion is one of my few pieces that's meant to tell a story and it's not incredibly specific, but here is the story of Aphelion. However, the definition of aphelion first is incredibly important.aphelion (noun):the point in the orbit of a planet, asteroid, or comet at which it is furthest from the sun.And it's very important to know the definition of its absolute antonym: perihelion.perihelion (noun):the point in the orbit of a planet, asteroid, or comet at which it is closest to the sun.These are terms used in astronomy to describe a celestial object's extreme distance from the sun. I'm using this to describe a relationship between two people. The type of relationship does not matter, it is simply just a relationship. However, you perceive it: platonic, romantic, etc.That is up to your interpretation.Aphelion follows the story of two people, with the start of the piece not actually being the aphelion, but however the perihelion, starting in D Major.It highlights their relationship as perfect, well-rounded, and flawless relationship. Some may call it a honeymoon era/phase or just the possible closest two people could be, i.e the perihelion.Then the two slowly drift away, with a shift to B Minor and D Minor. Issues, flaws, and problems that weren't there before begin to appear. These issues are quickly shoved under the rug, and the two pretend that they are nonexistent. The piece shifts back to D major incredibly quickly, however, there is a slight sense of uneasiness within the piece that I intended to create as it goes through this relationship that is clearly rocky, but it isn't being addressed because neither are choosing to communicate these issues.Then, the mysterious part hits very quickly, this is the aphelion. following a D Minor chord progression, then a shift into D minor itself. This part is where the relationship issues reach a boiling point, neither can stand the other and any attempt to resolve the issues is essentially useless. They stay in a toxic relationship. However, it's labeled as mysterious because the future is an absolute mystery to the two. They don't know what will happen. Then, one confronts the other, they choose to genuinely communicate.It's where the shift back to D Major occurs. They finally come to an understanding. At this point, they can choose to stay in the relationship, and work on the issues, or come to an understanding that it might not work from here, because a relationship takes two. There is a sense of peace, they are finally at peace with one another and their situation. Life can continue moving on, and the piece ends on an A Major chord. This is because A Major can be interpreted as one finally becoming content.That is the story that I intended to tell by writing Aphelion.

Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.1503623 By Michael Drake. By Michael Drake. Arranged by Kevin Carberry. Broadway,Film/TV,Jazz,Latin,Musical/Show,Singer/Songwriter. 200 pages. Michael Gene Drake #1079086. Published by Michael Gene Drake (A0.1503623). Lovin’ And Livin’ is from my CD “No Tan Lines” 1997. This is a Big Band arrangement with a vocal and trumpet solo.michaeldrakemusic@outlook.com    https://drakemusic.com/https://www.youtube.com/watch?v=_lsu5pReG-ACHORUSLovin’ and Livin’, Livin’ and Lovin’, Lovin’ and Livin’ it’s just a game. Lovin’ and Livin’, Livin’ and Lovin’, Lovin’ and Livin’ it’s all the same. VerseWhen you love one, it's hard enough, But when you love two, it's double trouble. The first one can be, so much fun, The second one, makes you run and run. It is brand new, for her and you, But please don't worry, it's part of life.VerseWell we talk about, the way it was, And we talk about, the way it should be.And we talk about, the way it is, And we talk about, the way it could be.VerseIt seems to me, if your gonna play, you need to play, a certain way, and it's not for me, to tell you how, you need to find the path yourself.VerseWell You feel inside, about the potential, and you cry in-side, of the consequential a philosopher, I am not, you need to do, what your passion tells you.

2 violins, viola and cello - advanced - Digital Download SKU: S9.Q49388 Echoes from Beethoven's Harp Quartet. Composed by Lucio Franco Amanti. This edition: score and parts. Beethoven year 2020 - Ludwig van Beethoven. Downloadable, Score and parts. Op. 74. Duration 14 minutes. Schott Music - Digital #Q49388. Published by Schott Music - Digital (S9.Q49388). When Cuarteto Casals approached me with the idea of illuminating Beethoven´s quartets anew, you can imagine the many thoughts and feelings that where going through my mind: what a joy, what a great honor… What an intriguing head-scratcher! How can you possibly shine a new light on something that is already perfect? Weeks, months went by in search of a common ground between the Master and myself until I finally found it in the realization that a word lays “hidden� in the St. John’s hymn that gave musical notes their original name: ‘Re, Sol, Ut, Io’ (D, G, C, B in English music notation) Perfect! “Resolutio� in Latin means both the resolution of a problem and the re-solution: a re-blend of many elements that will eventually coagulate to make something new. There was finally the melodic and a rhythmical canvas for my piece. On this canvas I wrote the story of a funny little contest, played on a sunny Mediterranean square, between street musicians and Cuarteto Casals just minutes before they are about to go on stage to perform Beethoven´s “Harp Quartet�. After all the characters, each in his own way, had the chance to tell their story, a gentle rain starts to fall, dissolving (Re-solving) again the music sheet to eventually leave us with just a white piece of paper for somebody else to continue the Work. (Lucio Franco Amanti).

Cello Solo - Level 1 - Digital Download SKU: A0.812889 Composed by Adrianus Valerius, Folklore, Folliott S. Pierpoint, Franz Lehar, Franz Schubert, Franz Xaver Gruber, Johannes Brahms, John Newton, and Traditional. Arranged by Yellow Cello Music. Celtic,Christian,Folk,Romantic Period,Standards. Individual part. 27 pages. Sheryl Smith #4981963. Published by Sheryl Smith (A0.812889). Includes 15 songs for the beginner cellist. Specially created for students using Suzuki and similar methods. For students who play in first position only, and for those beginning to learn shifting.What makes this book special? It includes:1. Pieces in the low register of the cello. Beginner books often focus on the A and D strings. 2. More lyrical pieces, meaning more song-like, more Romantic than Baroque style. 3. A teacher accompaniment part (teacher edition only). The students find it enjoyable, and it teaches them how important it is to listen and to play in time, in tune, and with dynamics. Can also be used for recitals.4. Familiar tunes. What is familiar to one person is unknown to others, but I tried to put in pieces that many people would be familiar with.5. Shifting with familiar tunes. When I was a student, I found it easier to learn a shift if the piece was familiar. My ear knew where to go. I have included a few pieces with two versions: first position and shifting . The student can learn the first position version and then be able to learn shifting with a familiar tune.6. There is plenty of empty space on the pages for teachers to add markings.7. Created by a cello teacher for cellists.  Not adapted from another instrument.  Tested by real students.

Cello - Digital Download SKU: A0.1103222 By Ölveti Mátyás and Mády-Szabó Eszter. By David Warin Solomons. 20th Century,Chamber,Classical. Full Performance. Duration 190. David Warin Solomons #706118. Published by David Warin Solomons (A0.1103222). Duo inspired by a poem by Jacques Prévert: Le Bouquet Que faites-vous là petite fille Avec ces fleurs fraîchement coupées? Que faites-vous là jeune fille Avec ces fleurs ces fleurs séchées? Que faites-vous là jolie femme Avec ces fleurs qui se fanent? Que faites-vous là vieille femme Avec ces fleurs qui meurent? J'attends le vainqueur [What are you doing there, little girl, With those freshly cut flowers ? What are you doing there, young girl, With those dried flowers ? What are you doing there, pretty woman, With those faded flowers ? What are you doing there, old woman, With those dying flowers ? I'm waiting for the victorious one] In my mind there were initially several possible interpretations of the poem My original thoughts were that le vainqueur means the conquering Christ and that the woman is waiting all her life with flowers before a church - waiting in vain for her saviour another possibility is that the woman is waiting for the winner of her affections it could even be that le vainqueur refers to the invading German army but this would not explain the fact that she waits all her life but, finally, as Raphaèle Larazoni suggests, (and more plausibly in view of other poems by Prévert) the vainqueur is simply the winner in a war - there is never really a winner in a war, so the woman waits all her life in vain.

Instrumental Duet,Viola,Violin - Level 5 - Digital Download SKU: A0.1402228 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 19 pages. ACORDO Sheet Music #985435. Published by ACORDO Sheet Music (A0.1402228). Toccata and Fugue in D Minor, BWV 565 by Johann Sebastian Bach (1685-1750) is a famous piece for the organ. Surprisingly, it wasn't very popular when Bach was alive. It was first published in 1833 by Felix Mendelssohn in a collection called noch wenig bekannte Orgelcompositinen. Mendelssohn performed it in 1840, which made it more well-known. This piece is different from Bach's later works in style and composition; for example, the fugue is relatively simple. Music expert Peter Williams suggested in his 2003 book The Organ Music of J. S. Bach that it might have originally been written for solo violin. Following his idea, some people tried to adapt it for solo violin, with some versions in A minor based on his suggestion.While it's unsure if Williams' idea is correct, it implies that this piece might work well for string instruments. We decided to arrange it for a Violin and Viola Duet, trying to stay close to the original organ version. However, because of technical reasons, we had to remove some parts. Our first arrangement was liked at a small concert in 2022. During this, we realized that the music could be good for string ensembles. We also found that removing some notes made the remaining ones stand out, sometimes making a special beauty. This suggests that the music might have been meant for string instruments originally.We first planned to publish this arrangement in 2020, but we changed our minds. We wanted as many people as possible to enjoy this wonderful piece, so we decided to publish two versions. Version 1 is similar to the organ score, sounding familiar but being technically hard. In contrast, Version 2 skips some notes, making it easier technically. Players will still experience the unique beauty of string ensembles with intentional note removal. The choice between the two depends on what players prefer and their skill level.To help players understand better, we've used colored notes. Different colors show different voices, helping players know each instrument's role. In Version 2, green notes show parts where both instruments play the same thing. While these notes are optional, playing them will help synchronize the two parts.Turning pages can be hard because there aren't many rests. We suggest using a tablet or arranging music stands side by side with all six pages in a row. If that's not possible, we suggest connecting pages 1-3 and 4-6 horizontally with cardboard. Put pages 1-3 in front and 4-6 in the back. For specific instructions during the piece:- The Violin plays the Viola part in bar 74, shown by solid parentheses. Turn the page after playing the third beat of bar 75 and don't play the Violin part in bar 76 (marked with dashed brackets), as the Viola will play it.- The Viola turns the page right after playing bar 73. Instead of playing the part in dashed parentheses in bar 74 (which the Violin will play), play the Violin part of bar 75 (marked with actual parentheses).

Instrumental Duet,Viola,Violin - Level 5 - Digital Download SKU: A0.1402227 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 19 pages. ACORDO Sheet Music #985434. Published by ACORDO Sheet Music (A0.1402227). Toccata and Fugue in D Minor, BWV 565 by Johann Sebastian Bach (1685-1750) is a famous piece for the organ. Surprisingly, it wasn't very popular when Bach was alive. It was first published in 1833 by Felix Mendelssohn in a collection called noch wenig bekannte Orgelcompositinen. Mendelssohn performed it in 1840, which made it more well-known. This piece is different from Bach's later works in style and composition; for example, the fugue is relatively simple. Music expert Peter Williams suggested in his 2003 book The Organ Music of J. S. Bach that it might have originally been written for solo violin. Following his idea, some people tried to adapt it for solo violin, with some versions in A minor based on his suggestion.While it's unsure if Williams' idea is correct, it implies that this piece might work well for string instruments. We decided to arrange it for a Violin and Viola Duet, trying to stay close to the original organ version. However, because of technical reasons, we had to remove some parts. Our first arrangement was liked at a small concert in 2022. During this, we realized that the music could be good for string ensembles. We also found that removing some notes made the remaining ones stand out, sometimes making a special beauty. This suggests that the music might have been meant for string instruments originally.We first planned to publish this arrangement in 2020, but we changed our minds. We wanted as many people as possible to enjoy this wonderful piece, so we decided to publish two versions. Version 1 is similar to the organ score, sounding familiar but being technically hard. In contrast, Version 2 skips some notes, making it easier technically. Players will still experience the unique beauty of string ensembles with intentional note removal. The choice between the two depends on what players prefer and their skill level.To help players understand better, we've used colored notes. Different colors show different voices, helping players know each instrument's role. In Version 2, green notes show parts where both instruments play the same thing. While these notes are optional, playing them will help synchronize the two parts.Turning pages can be hard because there aren't many rests. We suggest using a tablet or arranging music stands side by side with all six pages in a row. If that's not possible, we suggest connecting pages 1-3 and 4-6 horizontally with cardboard. Put pages 1-3 in front and 4-6 in the back. For specific instructions during the piece:- The Violin plays the Viola part in bar 74, shown by solid parentheses. Turn the page after playing the third beat of bar 75 and don't play the Violin part in bar 76 (marked with dashed brackets), as the Viola will play it.- The Viola turns the page right after playing bar 73. Instead of playing the part in dashed parentheses in bar 74 (which the Violin will play), play the Violin part of bar 75 (marked with actual parentheses).

Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - Digital Download SKU: A0.876449 Composed by Joe Procopio. Dance,Jazz,Pop. Score and parts. 33 pages. JoeCopio Music LLC #53329. Published by JoeCopio Music LLC (A0.876449). MY SWEET LYDIA Back to School 2015 From PAPA’S FAMOUS DANCES by Joe Procopio MY SWEET LYDIA is a dance written and arranged by Joe Procopio for a small ensemble, band, stage band or combo. It was originally composed for a small band with flexible instrumentation. It may be performed with only two Saxophones (Alto Sax I and Alto Sax II) and a standard backup with Piano/Keyboard, Guitar, Bass and Drums. In addition, any combo may be augmented by adding any or all of the parts included for Flute, Clarinet, Tenor Sax, and Baritone Sax. This flexible or variable instrumentation of MY SWEET LYDIA makes it unique and perfect for schools and colleges that do not have a permanent roster of music students entering their music programs annually. It also eases the burden for Directors searching for good music to perform for groups with ever changing numbers of music students. What’s more, MY SWEET LYDIA has a section open for solos to enable the ensemble to feature players who can improvise well enhancing not only the group’s enjoyment but also everyone’s listening pleasure. This piece has been performed by College and High School students in many major concert events all along the East Coast with great success. It is published separately and in a set entitled PAPA’S FAMOUS DANCES PART 1 from the sets PAPA’S FAMOUS DANCES Part I and Part II. Each Part contains 3 Dances. I have adapted the audio here for synthesizer so that it may be previewed. It is one of 6 works named and dedicated to each of my 6 Grandchildren: Lilly, Mary, Lydia, Emma, Joey and Wilson. Instrumentation for MY SWEET LYDIA includes SCORE and parts for: ALTO SAX I ALTO SAX II TENOR SAX BARITONE SAX FLUTE CLARINET PIANO/KEYBOARD - GUITAR - BASS - DRUMS VITA Joe Procopio is a master musician and teacher with proven success for over 50 years. His purpose in teaching, writing music and books is to make his successful method of making musicians available to as many people as possible around the world. While I cannot guarantee that my methods will make you a great musician as they have for many others, says Procopio, I can say that they are designed to magnify your love of music - and that I guarantee each will enrich and enhance your life. People from all over the world have written to me to tell me so. As a Master Musician , Joe Procopio is an ASCAP Artist, composer, conductor and professional musician. He was the Lead Reed for many of the nation's top recording artists including: The Temptations, Steve and Eydie Gorme, Aretha Franklin, Tony Bennett, Lawrence Welk, Frankie Avalon, Frankie Laine, Jack Jones, Kathryn Grayson, Carmel Quinn, Don Cornell, Bobby Rydell, Vic Damone, Rodney Dangerfield, Foster Brooks, The Vagabonds, The Ritz Brothers, Sammy Cohn, Jimmy Van Heusen, Tiny Tim, Al Martino, Petula Clark, Wayne Newton, Pat Cooper, The Four Tops, The Spinners, etc. Lead Alto Sax Jimmy Dorsey Orchestra and the Palace Theater Myrtle Beach, SC He is listed in The Encyclopedia of Saxophone Music Londeix, Roncorp Pub. He is the teacher of Guitarist T. Maxwell heard in TV’s Magnum P.I., The Rockford Files and Kojak ; the vocalist/bassist I. Cattell of Brit Floyd (Pink Floyd) and New York Tenor Saxophonist Paul Carlon to mention a few. His accomplishments as a teacher include: The Miles Clark Endowed Chair, Music, College of the Albemarle, Elizabeth City, NC, Chair Music Department Cazenovia Central School NY Director Of Instrumental Music Chapel Hill/Carrboro City Schools NC Adjunct Professor Applied Music Cazenovia College, NY.

Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - Digital Download SKU: A0.876448 Composed by Joe Procopio. Dance,Jazz,Pop. Score and parts. 23 pages. JoeCopio Music LLC #53327. Published by JoeCopio Music LLC (A0.876448). MARY ~ ELAINE Back to School 2015 From PAPA’S FAMOUS DANCES by Joe Procopio MARY ~ ELAINE is a dance written and arranged by Joe Procopio for a small ensemble, band, stage band or combo. It was originally composed for a small band with flexible instrumentation. It may be performed with only two Saxophones (Alto Sax I and Alto Sax II) and a standard backup with Piano/Keyboard, Guitar, Bass and Drums. In addition, any combo may be augmented by adding any or all of the parts included for Flute, Clarinet, Tenor Sax, and Baritone Sax. This flexible or variable instrumentation of MARY ~ ELAINE makes it unique and perfect for schools and colleges that do not have a permanent roster of music students entering their music programs annually. It also eases the burden for Directors searching for good music to perform for groups with ever changing numbers of music students. What’s more, MARY ~ ELAINE has a section open for solos to enable the ensemble to feature players who can improvise well enhancing not only the group’s enjoyment but also everyone’s listening pleasure. This piece has been performed by College and High School students in many major concert events all along the East Coast with great success. It is published separately and in a set entitled PAPA’S FAMOUS DANCES PART 1 from the sets PAPA’S FAMOUS DANCES Part I and Part II. Each Part contains 3 Dances. I have adapted the audio here for synthesizer so that it may be previewed. It is one of 6 works named and dedicated to each of my 6 Grandchildren: Lilly, Mary, Lydia, Emma, Joey and Wilson. Instrumentation for MARY ~ ELAINE includes SCORE and parts for: ALTO SAX I ALTO SAX II TENOR SAX BARITONE SAX FLUTE CLARINET PIANO/KEYBOARD - GUITAR - BASS - DRUMS VITA Joe Procopio is a master musician and teacher with proven success for over 50 years. His purpose in teaching, writing music and books is to make his successful method of making musicians available to as many people as possible around the world. While I cannot guarantee that my methods will make you a great musician as they have for many others, says Procopio, I can say that they are designed to magnify your love of music - and that I guarantee each will enrich and enhance your life. People from all over the world have written to me to tell me so. As a Master Musician , Joe Procopio is an ASCAP Artist, composer, conductor and professional musician. He was the Lead Reed for many of the nation's top recording artists including: The Temptations, Steve and Eydie Gorme, Aretha Franklin, Tony Bennett, Lawrence Welk, Frankie Avalon, Frankie Laine, Jack Jones, Kathryn Grayson, Carmel Quinn, Don Cornell, Bobby Rydell, Vic Damone, Rodney Dangerfield, Foster Brooks, The Vagabonds, The Ritz Brothers, Sammy Cohn, Jimmy Van Heusen, Tiny Tim, Al Martino, Petula Clark, Wayne Newton, Pat Cooper, The Four Tops, The Spinners, etc. Lead Alto Sax Jimmy Dorsey Orchestra and the Palace Theater Myrtle Beach, SC He is listed in The Encyclopedia of Saxophone Music Londeix, Roncorp Pub. He is the teacher of Guitarist T. Maxwell heard in TV’s Magnum P.I., The Rockford Files and Kojak ; the vocalist/bassist I. Cattell of Brit Floyd (Pink Floyd) and New York Tenor Saxophonist Paul Carlon to mention a few. His accomplishments as a teacher include: The Miles Clark Endowed Chair, Music, College of the Albemarle, Elizabeth City, NC, Chair Music Department Cazenovia Central School NY Director Of Instrumental Music Chapel Hill/Carrboro City Schools NC Adjunct Professor Applied Music Cazenovia College, NY.

Piano Solo - Level 3 - Digital Download SKU: A0.1415388 By O.C. Smith. By Bobby Russell. Arranged by Timothy Stapay. Country,Film/TV,Pop,Singer/Songwriter,Standards. Score. 5 pages. Timothy Stapay #997124. Published by Timothy Stapay (A0.1415388). Here is a timeless country classic arranged for piano solo.  A song the whole family will love to sing.Little Green Apples is a classic country song that was recorded by Glen Campbell in 1968.  It was written by Bobby Russell and became a major hit, reaching the top 40 charts in both the United States and the United Kingdom. The song’s popularity has endured over the years, and it remains a beloved classic in the country music genre. Bobby Gentry sang this song in a wonderful duet with Glenn on his T.V. show.[Verse 1]Well, I wake up in the mornin' with my hair down in my eyesAnd she says, HiAnd I hurry to the breakfast table while the kids are goin' off to school, GoodbyeAnd she reaches out and takes my handAnd squeezes it and says, How you feelin', Hon?And I look across at smilin' lips that warms my heartAnd I see my mornin' sun[Pre-Chorus]And if that's not lovin' meThen all I've got to say[Chorus]God didn't make the little green applesAnd it don't rain in Indianapolis in the summertimeThere's no such thing as Dr. SuessDisneyland and Mother Goose, no nursery rhymeGod didn't make the little green applesAnd it don't rain in Indianapolis in the summertimeAnd when my self is feelin' lowI think about your face aglow and ease my mind[Verse 2]Sometimes I call him up knowin' he's busyAnd ask if he could get away and meet meMaybe grab a bite to eatAnd he drops what he's doin' and hurries down to meet meAnd I'm always lateHe sits waitin' patiently and smiles when he first sees me'Cause he's made that way [Pre-Chorus]And if that's not lovin' meThen all I've got to say[Chorus]God didn't make the little green applesAnd it don't snow in Indianapolis when the winter comeThere's no such thing as make-believePuppy dogs and autumn leaves, no BB gunGod didn't make the little green applesAnd it don't rain in Indianapolis in the summertimeAnd when my self is feelin' lowI think about your face aglow and ease my mind

Small Ensemble - Level 2 - Digital Download SKU: A0.809415 By Oasis. By Noel Gallagher. Arranged by Academia Unimusica. Rock. Score and parts. 3 pages. Unimusic Academy (Academia Unimusica) #6252141. Published by Unimusic Academy (Academia Unimusica) (A0.809415). Don't Look Back in Anger is a song by the English rock band Oasis. It was written by the band's guitarist and main songwriter Noel Gallagher. The song was produced by Gallagher and Owen Morris. Released on 19 February 1996 as the fourth single from their second studio album, (What's the Story) Morning Glory? (1995), it became Oasis's second single to reach No. 1 on the UK Singles Chart, where it also went platinum.[1] It was the first Oasis single with lead vocals by Noel, who had previously only sung lead on B-sides, instead of his brother Liam. Noel would later sing lead vocals on six more singles. The song is in the key of C, but pitched slightly sharp of the standard concert tuning of A 440 at 451. It is one of the band's signature songs, and was played at almost every single live show from its release to the dissolution of the band in 2009. In 2012, it was ranked No. 1 on a list of the 50 Most Explosive Choruses by NME,[2] and the same year it was voted the fourth-most-popular No. 1 single of the last 60 years in the UK by the public in conjunction with the Official Charts Company's 60th anniversary.[3] In 2015, Rolling Stone readers voted it the second-greatest Britpop song after Common People by Pulp.[4] On 29 May 2017, Absolute Radio 90s broadcast a programme counting down the top 50 songs written by Noel Gallagher to mark his 50th birthday, with the song being voted No. 1. In August 2020, the song was voted as the greatest song of the '90s by listeners of Absolute Radio 90s as part of celebrations for the station's tenth anniversary.

Piano Solo, Piano/Vocal/Chords - Intermediate - Digital Download By Queen. Arranged by Mario Stallbaumer. 5 pages. Published by Mario Stallbaumer

Flute Quartet,Woodwind Ensemble Alto Flute - Level 3 - Digital Download SKU: A0.559766 Composed by John Dowland. Arranged by Lisa Ochoco. Renaissance. 66 pages. Lisa L Ochoco #4726485. Published by Lisa L Ochoco (A0.559766). John Dowland (1562 – 1626) was a lutenist and singer in the Renaissance Period. The lute was a stringed instrument, most closely related to our guitar. He wrote quite a lot of music that is still played and sung by guitarists and singers today. Although his music was written for stringed instruments in general, many arrangers have adapted his works for wind instruments.This collection of 20 songs from his Third Book of Songs is arranged for flute quartet – 4 C flutes or 3 C flutes and alto. Most of these songs are rather short, so it is recommended that each song is played in its entirety at least twice. I arranged these songs so that the 1st flute always has the melody. To practice fairness in all parts, the parts should be rotated, to give each musician a chance to play the melody. Song list: 1.    Farewell Too Fair 2.    Time Stands Still 3.    Behold a Wonder Here 4.    Daphne Was Not so Chaste 5.    Me, Me, and None but Me 6.    When Phoebus First did Daphne Love 7.    Say Love if Ever Thou Didst Find 8.    Flow Not so Fast Ye Fountains 9.    What if I Never Speed? 10.  Love Stood Amaz’d 11.  Lend Your Ears to My Sorrow 12.  By a Fountain Where I Lay 13.  O What Hath Overwrought 14.  Farewell Unkind 15.  Weep You no More, Sad Fountains 16.  Fie on This Feigning 17.  I Must Complain 18.  It was a Time When Silly Bees 19.  The Lowest Trees Have Tops 20.  What Poor Astronomers are They If each song is played twice in its entirety, you will have almost an hour's worth of music. If you love Renaissance music, this will be a great addition to your repertoire!