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: A0.869304 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!

Choral Choir (TTBB) - Level 4 - Digital Download SKU: A0.942888 Composed by James W. Knox. Contemporary. Octavo. 29 pages. Knox Music #6593497. Published by Knox Music (A0.942888). A rousing rendition of ‘Lines on Ale’ by Edgar Allan Poe, written for Men's Chorus, Piano and Percussion. It is believed by some to have been written in 1848 at a tavern in Lowell, Massachusetts. This poem, like many of Poe’s, feels quite personal. What’s different in this one, in comparison to some of his better-known poems, is that it’s focusing on the result of Poe’s sorrow rather than that sorrow itself.

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 .

Small Ensemble - Level 5 - Digital Download SKU: A0.533673 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 134 pages. Musik Fabrik Music Publishing #3037307. Published by Musik Fabrik Music Publishing (A0.533673). Symphony No. 3, “Ave Maris Stellaâ€� (2005) was written for the Duquesne ContemporaryEnsemble and is dedicated to composer David Stock. Throughout his career, Stock has beena tireless and generous advocate on behalf of new music and living composers. This work isdedicated to him in tribute – as both an important American composer and a significantcontributor to America’s contemporary musical life.The work’s basic source material is the plainchant Ave maris stella (“Hail, star of the seaâ€�) –appropriate because of Duquesne’s standing and history as a Catholic university. When thecomposition of this work first began, the original plan was for a celebratory and vibrant piece.As the planning progressed, however, personal circumstances intervened and began to changethe work’s tone – becoming substantially bleaker and more obsessive.The title of the first movement, Pentimento, is defined as “an underlying image in a painting,as an earlier painting, that shows through when the top layer of paint has become transparentwith age.â€� The melodic and harmonic material for the movement is entirely drawn from theplainchant source, although it is completely transformed and covered up – as in a pentimento.At various points, one can begin to hear the original plainchant “peek outâ€� in subtle ways.The opening section of the movement obsesses again and again on what sounds like a“beginningâ€� – as though it is trying to begin again and again. After a brief bassoon cadenza, afast and driving section starts, marked “sinister.â€� After driving through a series oftransformations on the plainchant material, a bridge passage leads to further attempts at the“beginningâ€� again. Finally, these attempts are given up, and the plainchant material (theunderlying layer) begins to show through quietly – in preparation for the next movement.In the second movement, Interrupted Motet, the plainchant theme is used in a morestraightforward fashion. After the opening declamatory statements, the following sectionsmove between more free developmental techniques, based on the first movement’stransformations, and “motetâ€� sections – using cantus firmus methods and textures fromRenaissance music. The tone and palate is, however, much darker and more obsessive.There is a brooding ponderousness to these contrapuntal developments. The final motetsection ends in a rageful shout, the plainchant material is presented again in full force, and thepent-up energy dissipates to the close.FluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in F/BbTrumpet in CTrombonePercussion (1 player):tubular bells, vibraphone(Percussionist needs one rosined bow for vibraphone.)PianoViolin IViolin IIViolaCelloContrabass(single strings)This is the complete set of parts.  The full score and the individual parts are avaialbe as seperate items.

Chamber Orchestra - Level 5 - Digital Download SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037097. Published by Musik Fabrik Music Publishing (A0.533672). Symphony No. 3, “Ave Maris Stellaâ€� (2005) was written for the Duquesne ContemporaryEnsemble and is dedicated to composer David Stock. Throughout his career, Stock has beena tireless and generous advocate on behalf of new music and living composers. This work isdedicated to him in tribute – as both an important American composer and a significantcontributor to America’s contemporary musical life.The work’s basic source material is the plainchant Ave maris stella (“Hail, star of the seaâ€�) –appropriate because of Duquesne’s standing and history as a Catholic university. When thecomposition of this work first began, the original plan was for a celebratory and vibrant piece.As the planning progressed, however, personal circumstances intervened and began to changethe work’s tone – becoming substantially bleaker and more obsessive.The title of the first movement, Pentimento, is defined as “an underlying image in a painting,as an earlier painting, that shows through when the top layer of paint has become transparentwith age.â€� The melodic and harmonic material for the movement is entirely drawn from theplainchant source, although it is completely transformed and covered up – as in a pentimento.At various points, one can begin to hear the original plainchant “peek outâ€� in subtle ways.The opening section of the movement obsesses again and again on what sounds like a“beginningâ€� – as though it is trying to begin again and again. After a brief bassoon cadenza, afast and driving section starts, marked “sinister.â€� After driving through a series oftransformations on the plainchant material, a bridge passage leads to further attempts at the“beginningâ€� again. Finally, these attempts are given up, and the plainchant material (theunderlying layer) begins to show through quietly – in preparation for the next movement.In the second movement, Interrupted Motet, the plainchant theme is used in a morestraightforward fashion. After the opening declamatory statements, the following sectionsmove between more free developmental techniques, based on the first movement’stransformations, and “motetâ€� sections – using cantus firmus methods and textures fromRenaissance music. The tone and palate is, however, much darker and more obsessive.There is a brooding ponderousness to these contrapuntal developments. The final motetsection ends in a rageful shout, the plainchant material is presented again in full force, and thepent-up energy dissipates to the close.FluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in F/BbTrumpet in CTrombonePercussion (1 player):tubular bells, vibraphone(Percussionist needs one rosined bow for vibraphone.)PianoViolin IViolin IIViolaCelloContrabass(single strings)This is the score only.  The complete parts and each seperate part are also available as seperate items.

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!

1(pic).1(ca).1.bcl.2(2.cbsn)-2.2(1.Dtpt).1.1-timp.2perc(mar, vib, cym, s.d, b.d, chimes, wind machine, lion's roar, flex, large hammer, white dinner plates, telephone, jackboots, gun)-pno(cel)-str(1.1.1.1.1) - difficult - Digital Download SKU: S9.Q17486 Opera in 3 acts based on the text by Oscar Wilde. Composed by Gerald Barry. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 90 minutes. Schott Music - Digital #Q17486. Published by Schott Music - Digital (S9.Q17486). English.When asked what the theme of his play was, Wilde answered “That we should treat all trivial things in life very seriously, and all serious things in life with a sincere and studied triviality. Gerald Barry’s fifth opera based on the play is genuine comic with a dark heart. The previous four have remarkable libretti, but The Importance of Being Earnest, written in 1894, is all but perfect in its construction, and Barry’s audacious approach triumphantly confounds all expectations. As Barry describes it: The play’s bones are unshatterable. My version is an X-ray of it. The musical references range from Beethoven to Schoenberg, all treated with a reckless panache and impish wit, by turns dazzling, startling and charming the audience.

1(pic).1(ca).1.bcl.2(2.cbsn)-2.2(1.Dtpt).1.1-timp.2perc(mar, vib, cym, s.d, b.d, chimes, wind machine, lion's roar, flex, large hammer, white dinner plates, telephone, jackboots, gun)-pno(cel)-str(1.1.1.1.1) - Digital Download SKU: S9.Q19064 Opera in 3 acts based on the text by Oscar Wilde. Composed by Gerald Barry. This edition: vocal/piano score. Downloadable, Piano reduction. Duration 90 minutes. Schott Music - Digital #Q19064. Published by Schott Music - Digital (S9.Q19064). English.When asked what the theme of his play was, Wilde answered “That we should treat all trivial things in life very seriously, and all serious things in life with a sincere and studied triviality. Gerald Barry’s fifth opera based on the play is genuine comic with a dark heart. The previous four have remarkable libretti, but The Importance of Being Earnest, written in 1894, is all but perfect in its construction, and Barry’s audacious approach triumphantly confounds all expectations. As Barry describes it: The play’s bones are unshatterable. My version is an X-ray of it. The musical references range from Beethoven to Schoenberg, all treated with a reckless panache and impish wit, by turns dazzling, startling and charming the audience.

Small Ensemble Bass Drum,Cymbals,Percussion - Level 3 - Digital Download SKU: A0.942889 Composed by James W. Knox. Contemporary. Score and parts. 8 pages. Knox Music #6593499. Published by Knox Music (A0.942889). A rousing rendition of ‘Lines on Ale’ by Edgar Allan Poe, written for Men's Chorus, Piano and Percussion. It is believed by some to have been written in 1848 at a tavern in Lowell, Massachusetts. This poem, like many of Poe’s, feels quite personal. What’s different in this one, in comparison to some of his better-known poems, is that it’s focusing on the result of Poe’s sorrow rather than that sorrow itself.

Piano Solo - Level 5 - Digital Download SKU: A0.876866 Composed by Rhonda Bradley. Baroque,Classical,Contemporary,Instructional. Score. 3 pages. Miss Rhonda’s Piano Music #2929287. Published by Miss Rhonda’s Piano Music (A0.876866). Canon in E Major by Rhonda Bradley Advanced Piano3 pages (including cover)Contemporary Classical piano solo Level 4This lively piece is short but challenging and will make the perfect addition to any quality repertoire. In true Canon form, the melody mirrors itself (as in a round) so that the strong and memorable melody takes on a blend of both Classical and Baroque sounds. A unique piece that's perfect for the advanced or professional pianist who's short on time. This piece is only 2 pages long, yet it fills the room with joyful sounds that will stop listeners in their tracks, asking What is that?It's also a great choice for your warm-up routine to get your fingers flying and ready to perform.x

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 .

String Ensemble,String Trio Cello - Level 3 - Digital Download SKU: A0.764286 Composed by Adolphe-Charles Adam. Arranged by Kováts István. Christian,Christmas,Contemporary. Score and parts. 5 pages. Kovats Istvan #3382677. Published by Kovats Istvan (A0.764286). 2017 Holiday Contest EntryBeautiful Christmas song arranged for 3 cellos, intermediate level, the kids are loving it.It comes with score and set of parts (I recommend to use only the score, it has only 2 pages it fits on any music stand and it's better if the players see what other voices are doing)I made it for my cello class, we played it on a Christmas Concert, it was a great success, I hope You'll enjoy it as much as we did. :)For more info, contact, etc. visit my Facebook page here: https://www.facebook.com/kovatsmusicGive it a thumbs up, thanks :)

Piano - Digital Download SKU: A0.1066542 Composed by THEMIS KOUTRAS. Christian,Gospel,Praise & Worship,Sacred. Full Performance. Duration 248. THEMIS KOUTRAS #4764083. Published by THEMIS KOUTRAS (A0.1066542). This song is you got to know the holy bible well to understand this so i will explain the dove in Christianity represents the holy spirit it is also how they believed in the old days to communicate with people like a post office of doves doves where known as pigeons in those days if you know your history the 1st post office was done using pigeons they put a message on it;s foot and let it go it will always return home so they will have a whole post office like that transporting pigeons to places they will then let them go with a message on there feet thus it would fly home so when JESUS CHRIST was baptize it writes the holy spirit came upon him in the form of a dove as GOD SPOKE OUT OF HEAVEN saying this is my beloved son listen to him thus everyone herd that so they only new how to explain it that the communication came to JESUS CHRIST communicating with GOD as they all herd it they told this expressing it how they understood it as the holy spirit came upon JESUS CHRIST as a dove thus what i am singing is very much that at the same time i am communicating with GOD just as the song says OK that is its meaning that i am communicating with GOD as sung