String Ensemble - Digital Download SKU: A0.1126780 Composed by Benedito Pratama. Chamber,Classical,Contemporary. 14 pages. Benedito Pratama #727430. Published by Benedito Pratama (A0.1126780). Tales From The Northern Woods tells a story from the composer's daydream. As person who is born and raised in a big, metropolitan city, the composer wanted to tell a story of what it feels like to begin an adventure in the woods. An adventure of a peaceful life, a life that is neither caged nor surrounded by the ‘concrete jungle’ in the big city, where there is only green. Miles of green, where a small village sits on the banks of the river, beautiful, idyllic, and lush. Somewhere that probably only exists in epic high-fantasy stories. Full of exciting and tense adventure. Tales From The Northern Woods is one of the three winners of the 5th Young Indonesian Composer Competition that was held on January 2022. Premiered by The Bandung Philharmonic on Chamber Music Konser Pemenang Kompetisi Komponis Muda Indonesia, 14 May 2022, at Auditorium Gedung PPAG UNPAR.

Piano Solo - Level 4 - Digital Download SKU: A0.818182 Composed by Traditional. Arranged by Philip Le Bas. Gospel,Sacred,Spiritual. Score. 3 pages. Philip Le Bas #6120843. Published by Philip Le Bas (A0.818182). Deep river, my home is over Jordan. I want to cross over into camp ground. Oh, don't you want to go to that gospel feast, that promised land where all is peace? Deep river, my home is over Jordan. I want to cross over into camp ground. The River Jordan is not in fact very deep, nor is it very wide. However, the longing to cross over it into camp ground in the promised land is very deep indeed! Based on the biblical story of Moses and the tribes of Israel wandering in the desert for forty years, this song is about exile and yearning for somewhere to belong. It applies to everyone, not just to the African-Americans who first sang this song, with their own history of heartache over so many centuries. Anyone who feels alienated by life and who is searching for inner peace is invited to respond to its soulfulness. Surprisingly - says the song - there are those who don't want to go to that gospel feast. But the song just continues its own search for the promised peace, convinced that the answer lies deep within us, perhaps across our own, personal deep river. The old African-American Spiritual Deep River is here set for piano solo in a relatively straightforward arrangement, based on the arranger's own barbershop quartet setting of the same song. It is to be played soulfully!

Piano Solo - Level 2 - Digital Download SKU: A0.893649 Composed by Beverly Cashin. New Age. Score. 3 pages. Beverly Cashin #3676787. Published by Beverly Cashin (A0.893649). This is a pretty piece, a bit melancholy.  My students love it.  I can picture somewhere out in space, where the Enterprise can't go. (:))  It's in A minor, and is 3 pages long.  3/4 time.  Not complex, but does require the ability to move around the keyboard, in manageable moves.  Late elementary/Early intermediate.

Guitar - Level 3 - Digital Download SKU: A0.1177383 By Frederic Chopin. By Fre�de�ric Chopin. Arranged by Brian Streckfus. 19th Century,Classical,Contemporary,Instructional,Romantic Period. Guitar Tab. 6 pages. Brian Streckfus #776814. Published by Brian Streckfus (A0.1177383). Key: Changed from B minor to A minorCapo: 2 (If you want original key, but I wasn't a fan of capo 2; it felt like there was no bass notes.)1. Arranged for guitar. 2. Piano pedal markings removed 3. Phrase markings removed and opted for commas. 4. Re-harmonized 5. Key changed from B minor to A minor. 6. Slurs 7. Left hand fingers 8. Tablature9. Harmonics added when advantageous, but playing the regular note would work as well.10. Piano pedal markings removed and replaced with commas. It's a flaw of sheet music that slurs, ties, and phrase markings are all the same symbol, and having all three happening can clutter a score.Compromises This may sound obvious, but of course I had to make some alterations to make this flow properly on guitar. Many of the original chord inversions on the piano were not kept. However, many harmonies were kept intact as far as following the chord nomenclature name. Measure 50 was originally an A minor chord, the irony is that the F major suprise is an homage to Chopin anyways, suprised he didn't opt for it. To be honest, I don't like how there is a perfect authentic cadence in measure 50. I think modern audiences would want to clap too badly, so I believe that ending needs to be slightly messed up to propel the music forward, and give a sense that there is still a problem. The other chord that was changed was an E7b9 to a Ddim7 in measure 78. If you know your theory well, you'll realize these chords have the same exact function and nearly the same notes, it's just that Ddim7 flowed a bit better on guitar. I'd rather have guitarists play the rhythms correctly and with musicality, than have guitarist clunkily go though overly large chords in order to mantain historical accuracy.  Measure 15 was hard to keep the original chord intact. A Bb/D with a G in the melody as a suspension sounds more like a g minor chord. That is cliche Chopinesque neopolitan moment so the Bb is crucial to mantain. Having some rough sort of Bbmaj7 or G minor chord while mantaining the melody seemed to sound the best even though the name of the chord might have gotten a little off. I tried chord charts, but they seemed messier than what it was worth. I also could have the denser tablature in the sheet music, but that does make it look 10x more intimidating. So this version is unique in that the tablature is my denser arrangement, whereas the sheet music would allow someone to quickly make a new arrangement. I like this ethos because most guitarists are likely to be much better at playing chord quickly when they don't have to have an exact voicing. This makes this arrangement easier to further perfect since I am naming the harmonies, which often isn't done in classical music.BackstoryThis is one of my favorite pieces, and also my favorite composer. I feel classical guitar repertoire is lacking easily playable music in the romantic style. Often, if it is romantic guitar music, it is extemely difficult and therefore only a select few can enjoy performing it. Also, I sometimes get my hopes up to find a romantic guitar composer, but then after listening, there's nothing quite like Chopin. Obviously, you will have to have some chops to play this since it's one of the most ambitious undertakings a guitarist could take, but it's also not so hard that you have to be train for a decade because I changed the key.

Choral Choir (SSAA) - Level 4 - Digital Download SKU: A0.505695 By Alan Wagstaff. By Alan Wagstaff. Arranged by Alan Wagstaff. Celtic,Folk,Holiday,Irish,Jewish,Traditional. Octavo. 23 pages. Alan Wagstaff #117353. Published by Alan Wagstaff (A0.505695). This original song uses English folk idioms to retell a traditional snowdrop legend. The chorus is an English 'weather rhyme'. It has been set for choir (SSAA), piano, harp, fiddle, and flute. One of the Snowdrop’s folk names is ‘Eve’s Comforter’; another ‘Maid of February’. Candlemas Carol Maid of February, if you will, grace mantle, hearth, and windowsill. So let us all be of goodwill and gather round, together. When Winter holds the world in thrall, and ice and snow lie over all, the Maiden can at once recall, the coming Summer weather. If Candlemas is fair and bright, cold Winter will take a second bite. But if this day brings clouds and rain, Winter won’t return again. When Eve and Adam left Eden fair, the snow and ice lay ev’rywhere, which filled their hearts with bleak despair, for they could find no pardon. They glimpsed the flowers of paradise, beyond the earthly cold and ice, but they could not be perfect, twice, nor get back to the garden. If Candlemas is fair and bright, cold Winter will take a second bite. But if this day brings clouds and rain, Winter won’t return again. A teardrop fell from Eve’s sad eye, and froze upon the ground close by. An angel raised it up on high, and called for Heaven’s power. The ice became a snowdrop, then. Thus hope returned to Eve again. And all the people say: ‘Amen!’ in praise of Winter’s flower. If Candlemas is fair and bright, cold Winter will take a second bite. But if this day brings clouds and rain, Winter won’t return again. Alan Wagstaff The legend tells that, after Adam and Eve were banished from Eden’s perpetual summer, they wandered, despondently, into Earth’s freezing winter. Eve wept as the snow fell around them. Seeing her tears, an angel intervened. He caught a teardrop when it froze and breathed on it, turning it into a snowdrop. When the angel left more snowdrops sprang up. Thus, snowdrops in Winter, serve as a reminder, that better times will come around. The tale was often recalled at Candlemas: February 2nd.

Piano Solo - Level 4 - Digital Download SKU: A0.1291599 Composed by Jake Stevens, Jonathan David Helser, Melissa Helser, and Molly Skaggs. Arranged by Brian Buda. Christian,Contemporary,Easter,Praise & Worship,Religious. Score. 19 pages. Budaful music #882224. Published by budaful music (A0.1291599). This is an epic piano solo arrangement of Bethel's Raise A Hallelujah. It's a perfect piece for the intermediate/advanced pianist to use in preludes and offertories or for fun. It's a long arrangement, as it does follow the mold of the sung recordings, but there are built in options to cut it short– or keep it going– if desired. A shorter version is contained on the first 3 pages and is more intermediate, whereas the full version becomes more advanced as it progresses, especially in the EPIC final choruses. Play 1 or 2 verses with choruses, or the entire arrangement. 2 key options available: Db & C. (It was originally arranged in Db, then transposed to C. Some chord voicings and fingerings might need to be adjusted in Db but some pianists– like myself– actually prefer the original 5 flat version).

Piano Solo - Level 3 - Digital Download SKU: A0.1286899 By Brandon Lake. By Benjamin Hastings, Brandon Lake, and Dante Bowe. Arranged by Brian Buda. Christian,Contemporary,Easter,Praise & Worship,Religious. Score. 22 pages. Budaful music #877903. Published by budaful music (A0.1286899). This is a heartfelt piano solo arrangement of Brandon Lake's song Gratitude. It's a perfect piece for the intermediate/advanced pianist to use in preludes and offertories. It's a long arrangement, but not as long as the 13 minute+ recording! Though it is long there is a built in option to cut it short. A shorter version is contained on the first 3 pages and is more intermediate, whereas the full version becomes more advanced as it progresses, especially in the bridge. Play 3 verses with choruses, or the entire arrangement. 3 key options available: A, Bb, & B. (It was arranged in original key of B, then transposed to the other keys. Some chord voicings and fingerings might need to be adjusted in A and Bb but some pianists– like myself– actually prefer the 5 sharp version).

Piano Solo - Level 4 - Digital Download SKU: A0.1301701 Composed by Benjamin Hastings, Joel Houston, and Michael Fatkin. Arranged by Brian Buda. Christian,Contemporary,Easter,Praise & Worship,Religious. Score. 34 pages. Budaful music #891313. Published by budaful music (A0.1301701). This is an epic piano solo arrangement of Hillsong's So Will I (100 Billion X). It's a perfect piece for the advanced pianist to use in preludes or for fun. It's a long arrangement, as it does follow the form of the sung recordings, but there are built in options to cut it short, if desired. A shorter version is contained on the first 5 pages and is moderately advanced, whereas the full version becomes fully advanced as it progresses, especially in the EPIC bridges. Check out the perforamnce options on the 2nd page. 3 key options available: A, Ab, & G. (It was originally arranged in A, then transposed to the others. Some chord voicings and fingerings might need to be adjusted in the alternate keys).

Acoustic Guitar,Instrumental Solo,Piano - Level 5 - Digital Download SKU: A0.1287061 Composed by Hans Haug. Arranged by Zellev. 20th Century,Broadway,Classical,Contemporary,Medieval,Musical/Show. Score and individual part. 20 pages. Zellev Music #878068. Published by Zellev Music (A0.1287061). Hans Haug (1900-1967) was a Swiss composer and conductor, mainly of operas and theatrical music. He also became known as a composer for the classical guitar.In December 1950, Haug's Concertino for Guitar and Chamber Orchestra won a prize at a composition competition for guitar at the Accademia Musicale Chigiana in Siena, Italy. It was Haug's first guitar composition. The prizewinners were promised that Segovia would premiere their pieces in the summer of 1952 and that they would be published afterwards by Schott of London. Whereas this promise was kept in the case of Tansman's Cavatina (Schott published it in 1952), Segovia never played Haug's Concertino, which had to await publication until three years after Haug's death in 1970. It appeared in a facsimile edition under the auspices of Edizioni Musicali Bèrben. Alexandre Lagoya and the Lausanne Chamber Orchestra played its world premiere.Hans Haug became acquainted with other guitarists such as Luise Walker at the Geneva Competition in 1956. As a result of this meeting, he wrote his Fantasia for Guitar and Piano (1957), which he dedicated to her. In 1963, his Capriccio for flute and guitar was written for the duo Werner Tripp and Konrad Ragossnig (released on RCA Victor 440.182). Also, Haug composed a Concerto for flute, guitar and orchestra in 1966, and he used the guitar in some other works.

Alto Voice,Cello,Marimba,Violin - Level 5 - Digital Download SKU: A0.1415470 By Ludovic SELMI. By Ludovic SELMI. 21st Century,Contemporary. 103 pages. D-Project Co., Ltd. #997204. Published by D-Project Co., Ltd. (A0.1415470). This is a piece for string quartet and marimba. The marimba is not a soloist but integrated into the ensemble. It's an instrument that resonates the wood directly, whereas string instruments make it vibrate. It's this blend that interested me.As for the piece itself, I started with cells, melodic melismas that I repeat, which transform like a sort of gigantic metamorphosis. There's a brilliant section in the middle, which is a bit like lace, organic and more raw than at the beginning. For the finale, the strings continuously vibrate open strings to give the impression of an orchestra tuning. Il s'agit d'une pièce pour quatuor à codes et marimba. Le marimba n'est pas soliste, mais intégré à l'ensemble. C’est un instrument qui fait raisonner le bois directement alors que les instruments à cordes le font vibrer, c'est ce mélange qui m'intéressait.Pour l'œuvre en elle-même, je suis parti de cellules, de mélismes mélodiques que je répète, qui se transforment comme une sorte de gigantesque métamorphose.Il y a une partie brillante au centre, qui est un petit peu en dentelle, organique et plus brut qu'au début. Pour le final, les cordes vibrent à vide en permanence pour obtenir l'impression d'un orchestre qui s'accorde.

Choral Choir (SA) - Level 3 - Digital Download SKU: A0.873034 Composed by Sally Whitwell. Pop. Octavo. 11 pages. Sally Whitwell #3869017. Published by Sally Whitwell (A0.873034). Composer’s Note - Happy PlaceI’m a lesbian who came-of-age/came-out in the mid 1990s, which means I caught the tail end of those lesbian stereotypes you used to hear about. It made me feel like I’d never inherited The Lesbian Gene. I was never one of the herbal tea sipping, yoga loving, hemp textiles wearing, hippie happy clappy campers of that time. I had girlfriends who were and I tried to humour them sometimes but it was always a strain.I had this one girlfriend who made me go camping once, a gathering with her hippie pagan friends. It was all inoffensive enough, I was having a very nice time sitting in the shade reading my book. Rather stupidly, I made the mistake of letting someone rope me into a thing called D​rumming The Boundary​. They thought I’d be good at it, being a professional musician. I thought it would probably please my girlfriend if I got involved, so I agreed to go along.To my surprise, the drums they’d set up were great instruments, some really top quality djembes that you’d be paying some good money for, so I made the rash assumption that the leader of this activity actually knew what she was doing. We were instructed to start drumming a h​eartbeat​ together, whereupon I discovered that these are people who couldn’t even play a plain old crotchet beat in ensemble. But they seemed to think they were playing in time, swooning and swaying and closing their eyes to ‘feel’ the music. It was starting to make me giggle. These were presumably the same lesbians I’d seen out in Sydney nightclubs who couldn’t dance in time with an electronic beat that repeatedly hits you over the head with its obviousness?! Once I’d had that thought, I couldn’t help my giggle becoming a full-blown guffaw. The dreadlocked hempy lady in charge glared at me, telling me I needed to relax into really f​eeling the heartbeat. ​Could she not see that it was because my whole body was shaking with hysterical laughter at their arhythmic playing? Honestly...I guess I just really don’t like hippies. There, I said it out loud. I tried, I tried really hard, but I just prefer my city life. It’s my ​Happy Place.​-- Sally Whitwell