String Quartet Cello,String Quartet,Viola,Violin - Level 4 - Digital Download

SKU: A0.1205547

By The Beatles. By George Harrison. Arranged by Mattia Mugnai. Pop. Score and parts. 13 pages. Matt80 #803734. Published by Matt80 (A0.1205547).

Here Comes the Sun is a song by the English rock band the Beatles from their 1969 album Abbey Road. It was written by George Harrison and is one of his best-known compositions. Harrison wrote the song in early 1969 at the country house of his friend Eric Clapton, where Harrison had chosen to play truant for the day to avoid attending a meeting at the Beatles' Apple Corps organisation.
The Beatles recorded Here Comes the Sun at London's EMI Studios in the summer of 1969. Led by Harrison's acoustic guitar, the track features a Moog synthesizer, which he had introduced to the band's sound after acquiring an early model of the instrument in California. Reflecting the continued influence of Indian classical music on Harrison's writing, the composition includes several time signature changes. 
Here Comes the Sun has received acclaim from music critics. Combined with his other contribution to Abbey Road, Something, it gained for Harrison the level of recognition as a songwriter previously reserved for his bandmates John Lennon and Paul McCartney. Here Comes the Sun was the track used to promote the 50th anniversary reissue of Abbey Road in 2019. It peaked at number 3 on the US Billboard Hot Rock Songs chart at that time and has since been certified double platinum for UK sales since 2010. As of 2021, it was the most streamed Beatles song on Spotify globally.

In the sting trio arrangement the beauty of this song is finely preserved, as much as it's original stucture.
The file includes both score and parts.

Organ - Level 2 - Digital Download

SKU: A0.1398405

By William W Phelps. By Henry Tucker. Arranged by Jacob Hershberger. Christian,Praise & Worship,Religious,Soul,Spiritual. Score. 3 pages. Jasberger Music #981666. Published by Jasberger Music (A0.1398405).

Imagine diving into the soulful melodies of “Now Let Us Rejoice� with my easy-breezy arrangement. It’s like a musical playground where you can explore different styles and voicings, adding your own flair to the classic hymn.

Don’t worry if you’re just starting out – this arrangement is tailor-made for beginners. It’s like a gentle breeze that guides you through the keys, making it perfect for preludes, postludes, or even your next recital.

I’m Jacob Hershberger, and I cooked up this arrangement just for you under Jasberger Music. It’s not just about playing notes; it’s about sharing joy through music.

You’ll find this gem on sheet music and your favorite digital platforms. So, let’s spread some musical cheer together!

Bassoon,Clarinet,Flute,Oboe - Level 3 - Digital Download

SKU: A0.747086

By Randy Travis. By Roger Miller. Arranged by Keith Terrett. Contemporary. 27 pages. Keith Terrett #6426723. Published by Keith Terrett (A0.747086).

An arrangement of the classic King of the Road for Wind Dectet.

King of the Road is a song written by country singer Roger Miller, who first recorded it in November 1964. The lyrics tell of the day-to-day life of a hobo who, despite being poor (a man of means by no means), revels in his freedom, describing himself humorously and cynically as the king of the road. It was Miller's fifth single for Smash Records.

The popular crossover record hit No. 1 on the US Country chart, No. 4 on the Billboard Hot 100, and No. 1 on the Easy Listening surveys. It was also No. 1 in the UK Singles Chart, and in Norway. Miller recalled that the song was inspired when he was driving and saw a sign on the side of a barn that read, Trailers for sale or rent. This would become the opening line of the song.

The song has been covered by many other artists, including George Jones, Dean Martin, Val Doonican, Jack Jones, James Booker, The Fabulous Echoes, Boney M., R.E.M., Johnny Paycheck, Glen Campbell, Alvin and the Chipmunks, Boxcar Willie, Randy Travis, Rangers, James Kilbane, John Stevens, the Statler Brothers, Rufus Wainwright & Teddy Thompson, Giant Sand, Peligro, John Williamson (singer) & Adam Harvey, The Proclaimers, Ray Conniff Singers, The Reverend Horton Heat, Jerry Lee Lewis, and Jim White. James The King Brown (an Elvis impersonator) performed the song for a 2001 Audi commercial on German TV. Of R.E.M.'s version, a shambolic, drunken, offhand rendering, guitarist Peter Buck would later comment, If there was any justice in the world, Roger Miller should be able to sue for what we did to this song.

King of the Road was performed live by Merle Haggard, Willie Nelson, Marty Stuart, Dwight Yoakam and Dolly Parton during Miller's posthumous induction into the Country Music Hall of Fame at the 1995 CMA Awards ceremony.

The song appears in Wim Wenders's 1976 film Im Lauf der Zeit (In the Course of Time; English title Kings of the Road). It is also played at the beginning of Talladega Nights: The Ballad of Ricky Bobby, Brokeback Mountain, Into the Wild (2007), Traveller (1997), and Swingers (1996). Miller performs it in the concert film The Big T.N.T. Show. The Proclaimers' version is included in the film The Crossing (1990). Near the end of their official music video, the pair are shown reading a newspaper whose headline is Roger Miller, King of Plugs.

Miller's recording appears in an episode of the Super Dave TV show, where Super Dave Osborne (Bob Einstein) sings along while sitting at a piano mounted on top of his tour bus. The bus eventually goes into a low tunnel, slamming into the piano and Osborne and pushing them off the bus and onto the ground.

A send-up version by English entertainer Billy Howard was a British chart hit in 1976.

A German take by the band Wise Guys exists, the parody referring to speeding on the Autobahn.

Solo Guitar - Level 4 - Digital Download

SKU: A0.899135

Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie Creek Music #3874077. Published by Maggie Creek Music (A0.899135).

For solo classical guitar; 3 pp

Alban Berg 1885 -1935

Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935.

Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion.

The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality.  

As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way.

Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.

Woodwind Ensemble,Woodwind Quartet - Level 2 - Digital Download

SKU: A0.1257713

Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Medieval. 38 pages. Jmsgu3 #850942. Published by jmsgu3 (A0.1257713).

Guillaume de Machaut composed the Messe de Nostre Dame, also known as the Mass of Our Lady, in the early 1360s. He composed the mass for the Cathedral at Reims, where he served as a canon, and a permanent clergy member. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Some scholars hypothesize that Machaut did not actually come to work for the Reims Cathedral until the end of the 1350s, composing the mass as an act of devotion and dedication marking his arrival in the precinct.

Guillaume de Machaut's Messe de Nostre Dame is significant in the history of music for several reasons:

• It is the first complete setting of the Ordinary of the mass by a single composer that has survived.

• It is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor.
•  
• It was composed for four voices, which was unusual at the time.

• The texts of both Gloria and Credo are quite lengthy, and therefore Machaut set these movements in a style reminiscent of the earlier discant style, having short phrases, similar rhythmic motion in all parts, and a low ratio of notes per syllable of text, both ending with long, rhapsodic sections for the final word, Amen.

Machaut's Messe de Nostre Dame is a landmark in musical history, but it is far from being avant-garde merely for the sake of uniqueness. It is considered to be a culmination of the musical style of the Ars Nova period, which was characterized by complex polyphonic textures and rhythmic innovations. The mass is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period.

Overall, Machaut's Messe de Nostre Dame is a significant work that represents a culmination of the musical style of the Ars Nova period and reflects the changing attitudes towards religion and music during the 14th century.

T.

Concert band - Digital Download

SKU: IZ.CBW205-S

Composed by Judith Katz. Score. 15 pages. Imagine Music - Digital #CBW205-S. Published by Imagine Music - Digital (IZ.CBW205-S).

9 x 12 in inches.

Long before the tragic sinking of the Medusa, was the sinking of the French ship, The Medusa. The frigate Medusa was completed in 1806, launched in 1810, and saw action in the Napoleonic wars. In 1816, it set sail from French to its ultimate location in Senegal to repossess it from the British. Along with cargo, there were almost 400 people on board. What no one knew, however, was that there was an incompetent captain on board with dubious skills.

The ship was caught in a storm off the coast of Mauritania. After being damaged from hitting rocks and multiple attempts to relaunch it, it couldn't move. Soon, it was discovered that there was a shortage of lifeboats. Most of the crew and some of the passengers made their way to the lifeboats, saving about 250 people. That left about 149 others on board.

Crew members left on board scrambled to build a raft for the others. The raft was launched and tied to one of the lifeboats. The hope was that everyone would make it to land, almost 60 miles away. The horror came, when the captain ordered the raft to be cut loose, claiming, that it was slowing everyone else down. That left the raft survivors to their own devices.

Multiple days at sea brought on starvation, death and disease. People starved to death, and acts of desperation came about, such as the weak, but alive, being thrown overboard, and even cannibalism.

Many days later, when survivors were finally rescued, there were only 15 people left alive, with 5 of them dying soon afterwards. News of the disaster quickly reached France, where both the government and the people were thoroughly outraged. Newspapers covered the disaster, and eventually there were trials prosecuting the captain and the crew for negligence. This can be considered as the first documented sea disaster.

In 1818, 27 year- old Theodore Gericault was so moved by this disaster, that he painted his masterpiece, The Raft of The Medusa. To this day, the painting, which is enormous in size and almost the size of the raft itself, hangs in the Louvre.

This is my first attempt at program music. It was my hope that I captured the mood, the feeling, and above all, in all good program music, that my composition told the story.

Instrumental Duet,Percussion,Violin - Level 5 - Digital Download

SKU: A0.1248663

By Evelyn Glennie. By Eugene Astapov. 21st Century,Chamber,Classical,Contemporary. 26 pages. EAMUSIC #843160. Published by EAMUSIC (A0.1248663).

Composing Tiny Shattered Pieces was a truly immersive musical journey due to the sheer amount of time it took to write it and how much time I spent thinking about this piece. Since the work was commissioned before the start of the 2020 pandemic, but rescheduled for a premiere 2 years later – I could write, re-write and re-think this piece from start to finish multiple times. In the end there was enough material for a 30-minute composition, but so much of it was so different due to the different moods one would go through during a pandemic, that compiling it into 5 separate short musical statements was the most natural conclusion. 
    The music embarks on a journey of discovery, love, destruction, reconciliation, suffering, and by the end of it – war. Naturally at the end of a 2-year period a person evolves and goes through a myriad of different experiences, but few artists or composers experienced the world going through a tectonic shift from the early 2000s until now, therefore I felt it necessary to touch upon many different topics through the language of this work, including the personal and the universal. Each of the movements is a complete statement but together the movements form a larger pyramid-like structure, completing each other’s thoughts, propelling them and eventually bringing them to conclusion. 
     It should be noted that by the time I was reaching the end of the compositional process – a major war started with Russia invading Ukraine. Being a Ukrainian-born composer, the issue affected me deeply and sipped into the music by the end of the 4th movement. This is where the pyramid reaches its peak and should be appropriately shaped by the musicians.
     The piece is approximately 10 minutes in duration and is to be performed with utmost freedom, gusto and conviction. The performers must not shy away from making the sounds crunch together, piercing through the hall, but at the same time the more quiet, gentle parts should be appropriately shaped and bring much needed comfort. The work is about contrasts, outbursts of emotions, quiet sobbing, rage and solitude. 
 
The piece is approximately 12 minutes long. It was commissioned by Dame Evelyn Glennie in cooperation with Calgary's Land's End Ensemble.

Solo Guitar - Level 4 - Digital Download

SKU: A0.899136

Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874083. Published by Maggie Creek Music (A0.899136).

For solo classical guitar; 4 pp; first part of 2nd movement of the Lyric Suite

Alban Berg 1885 -1935

Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935.

Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion.

The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality.  

As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way.

Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.

Concert Band - Level 5 - Digital Download

SKU: A0.1472273

Composed by Richard Strauss. Arranged by Steven Nunes. Opera,Romantic Period. 391 pages. Nagamon Publications #1049975. Published by Nagamon Publications (A0.1472273).

Richard Georg Strauss (11 June 1864 – 8 September 1949) was a German composer and conductor best known for his tone poems and operas. Considered a leading composer of the late Romantic and early modern eras, he has been described as a successor of Richard Wagner and Franz Liszt. Along with Gustav Mahler, he represents the late flowering of German Romanticism, in which pioneering subtleties of orchestration are combined with an advanced harmonic style.

Der Rosenkavalier (The Knight of the Rose or The Rose-Bearer), Op. 59, is a comic opera in three acts by Richard Strauss to an original German libretto by Hugo von Hofmannsthal. It is loosely adapted from Louvet de Couvrai's novel Les amours du chevalier de Faublas and Molière's comedy Monsieur de Pourceaugnac.

In 1945 Strauss allowed an orchestral Rosenkavalier Suite to be published, but apparently was not involved in creating it.  It is likely that conductor Artur Rodzi?ski arranged it, as he conducted the suite's first performance, in October 1944 by the New York Philharmonic.

The suite begins with the opera's orchestral prelude, depicting the Marschallin's and Octavian's night of passion (vividly portrayed by whooping horns and saxophones). Next comes the appearance of Octavian as the Rosenkavalier, depicted in tender music; the sight of him looking so young makes the Marschallin realise that he will soon leave her for a younger woman. There follows the duet between Octavian and Sophie – in which their love for each other becomes ever more obvious, but this is abruptly interrupted by the discordant music associated with Ochs's clumsy arrival. Next the violins tentatively introduce the first waltz, followed by another given out by the solo violin, before the whole orchestra settles into waltz mode. A general pause and a violin solo leads into the nostalgic music where the Marschallin sadly realises she has lost Octavian. Then comes its ecstatic climax. The work closes with a singularly robust waltz, depicting Ochs at his most pompous, and a boisterous coda newly composed for the suite.

The PDF contains the Full Score and a full set of parts.

Solo Guitar - Digital Download

SKU: A0.899140

Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #4349085. Published by Maggie Creek Music (A0.899140).

for solo classical guitar  4 pp   (7 min.)

ALBAN BERG (1885 -1935)

Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935.

Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion.

The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality.  

As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way.

Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. With it Berg discovered the way to express what he wanted to.

Piano Solo - Level 4 - Digital Download

SKU: A0.1295715

Composed by Donald Ashwander. Ragtime. Score. 6 pages. The Donald Ashwander Estate #886012. Published by The Donald Ashwander Estate (A0.1295715).

Perdido Bay Moon Rag is a heartfelt and evocative solo piano composition dedicated to the memory of an elegant lady whose love for dance and a chance suggestion led to the creation of this beautiful piece. The composition pays homage to the serene beauty and cherished memories of Bear Point, Alabama, a place rich in history and personal significance to the composer, Donald Ashwander.

The story behind Perdido Bay Moon Rag begins on a summer day when Donald, along with friends Edith and Edwin Zelnicker, found themselves on the picturesque Bear Point, Alabama. This tranquil peninsula on the shores of Perdido Bay held a special place in their hearts, as it was a locale where they had spent countless hours as children. They reminisced about their youth, playing beneath the majestic magnolia trees adorned with Spanish Moss and exploring ancient Indian mounds in search of pottery shards.

It was during this nostalgic conversation that Edith, the elegant lady in question, suggested the title for a piano composition: Perdido Bay Moon Rag. Enchanted by the idea, Donald was determined to bring this vision to life. Upon returning to New York, he began crafting the piece, but it somehow eluded his grasp. Despite this initial challenge, he designed an appropriate cover for the composition and sent it to Edith and Edwin in Mobile.

Over the years, Perdido Bay Moon Rag remained a fixture on Edith and Edwin's piano, a symbol of a cherished memory and unfulfilled promise. Edith confessed to her friend that she had attempted to play the piece but found it too complex, and so it remained unplayed.

Time passed, and sadly, Edith fell ill. On a poignant visit to Mobile after Edith's passing, the atmosphere in their home was filled with her spirit. There, prominently displayed on the piano, lay Perdido Bay Moon Rag. In that moment, Donald knew that he needed to fulfill his promise and honor Edith's memory properly.

With newfound determination and inspiration, Donald embarked on a journey to create a completely new composition that would capture the essence of Bear Point, Perdido Bay, and the moonlit nights they had cherished. This time, the music flowed effortlessly from his fingertips, as if guided by the memories and love he held for his dear friend.

Perdido Bay Moon Rag is a testament to the enduring power of memories, friendship, and the creative process. It reflects the tranquility of Bear Point, the gentle sway of Spanish Moss, and the serenity of moonlit nights on the bay. Through its delicate melodies and intricate rhythms, the composition invites listeners to share in the deep emotions and fond recollections that inspired its creation.

The final page of the sheet music contains special program notes by Donald Ashwander.

Piano Solo - Level 3 - Digital Download

SKU: A0.1485608

Composed by Joseph Martin Kraus. Arranged by Bertil van Boer. Classical. Score. 52 pages. Artaria Editions #1062673. Published by Artaria Editions (A0.1485608).

The dates of the two sonatas is not known, although it is clear stylistically that the E major is a much more advanced work compositionally than the E-flat major. The latter also exists in a version as a sonata for violin and keyboard, which can be dated to Kraus's grand tour, having been written in Paris in 1785 and subsequently distributed by the Viennese publisher Johann Traeg.

Since there are substantive differences in the two versions, it is impossible to say which came first, and Hans Eppstein has suggested that their may even have been a third, now lost original for fortepiano, since the extant solo keyboard version clearly represents a more advanced version. This cannot be proven, but it seems clear that the version presented here can be considered Kraus's last word in this tortuous compositional trail, probably receiving its final form for publication as part of the Due Sonata per il Forte Piano that hlstrm published about 1788 as one of the first editions stemming from his new privilege.

Given that the E major work is one of considerable complexity and virtuosity, it is probable that this sonata at least was composed especially for the publication. In any case, hlstrm's edition is the earliest source of the works; a number of additional copies dating from about 1795 and later all can be traced back to it.

That the composer himself was involved intimately with the edition can be seen by the unusual number of clear and precise markings and articulations.These have been accepted without comment or alteration.

Occasional obvious wrong notes, the result of overlooked proof reading, have been tacitly corrected, and some of the slurrings have been regularized according to parallel passages where such do not appear to have been deliberately varied. It is the suggestion of the editor that the Adagio of the E majot sonata should be performed la C.P.E.Bach in a fantasia manner with considerable flexibility in terms of tempo and relative rhythm; to play it in a strict fashion obliviates the flow of the movement.

Bertil van Boer.

Guitar,Piano,Vocal,Voice - Level 3 - Digital Download

SKU: A0.1416208

Composed by Rend Collective. Arranged by B. McCormick. Celtic,Christian,Folk,Irish,Praise & Worship,Sacred. Score. 8 pages. B. McCormick #997891. Published by B. McCormick (A0.1416208).

Overview:

This comprehensive sheet music arrangement of “Build Your Kingdom Here� by Rend Collective is tailored for piano, vocals, and guitar. Designed to fit neatly on a music stand, it spans four pages, with the first page dedicated to the initial verse (which can be discarded once played). The remaining three pages contain the complete music arrangement.

Key Features:

Piano Part:

The piano part combines the melody and accompaniment.
It serves as the foundation, providing harmonic support and rhythmic structure.
The piano carries the emotional weight of the song.

Vocal Melody:

Singers can follow the melody line, ensuring accurate pitch and phrasing.
The lyrics are set below the piano part, allowing seamless coordination.

Guitar Chords:

Guitar chords are indicated above the bars.
Guitarists can strum or fingerpick these chords to accompany the piano and vocals.
The chord symbols guide harmonic progression throughout the song.

Structure and Repeats:

Clearly marked sections (verse, chorus, instrumental) facilitate smooth transitions.
Pay attention to the 1st, 2nd, or 3rd time through bars for accurate repetition.

Transposition and Key:
The arrangement is in C major, a tone lower than the original key.
This transposition enhances congregational participation and makes the song more accessible. To play in the original key, transpose up a tone (use the transpose function on an electric piano/keyboard or add a capo on the second fret for guitars).

Performance Note:
Interpret dynamics, tempo, and expression to suit your worship context. Remember that music is not just notes; it’s an invitation to encounter God and declare His kingdom.

Where to Use:

1. Church Worship: Ideal for praise and worship bands during services.
2. Youth Events: Energize gatherings with this uplifting anthem.

CCLI Reporting: Report usage to CCLI (Christian Copyright Licensing International) when incorporating this song in your church context.

About Rend Collective:

Rend Collective is a lively Christian folk rock worship band hailing from Bangor, Northern Ireland. The band's lineup features Gareth Gilkeson, Chris Llewellyn, Ali Gilkeson, Patrick Thompson, and Steve Mitchell.

Their song Build Your Kingdom Here is a fervent plea for God's presence and power to permeate all facets of our lives and communities. Echoing the Lord's Prayer, the chorus highlights the desire for God's kingdom to manifest on earth just as it is in heaven.

Remember, as musicians, you’re not just playing notes; you’re participating in God’s work to establish His kingdom here and now. 

B-Flat Clarinet,Medium Voice,Piano Accompaniment - Level 3 - Digital Download

SKU: A0.1264319

Composed by Ali Hanna, Madison Julius Cawein, and Mark Twain. 21st Century,Contemporary. 6 pages. Ali Hanna #857172. Published by Ali Hanna (A0.1264319).

I wrote this piece as an epilogue (pun definitely intended) to a traumatic religious event that took place in February 2023. I won't go into details so I don't risk triggering anyone, but let's just say it was a lot. This is also the first piece I've written where the text isn't my own because my composition professor at the time challenged me to do so.

The text of the first half of the piece comes from Mark Twain's poem Warm Summer Sun. It's intended to be an acceptance of the fact that the singer isn't the same person they once were. As the poem repeats, the singer begins to say goodbye to their old self and lay them to rest.

The text of the second half of the piece comes from Madison Julius Cawein's poem Take Heart. I see this part as someone in the singer's life giving them hope to keep on living, and who that entity is can be interpreted in a number of ways. For me, it was the friends and professors around me that helped me keep going. I didn't talk to many people about what happened, but just seeing everyone's faces every day taught me that if they can continue living their lives, then so can I.

I ended up adding the clarinet part after a moment of inspiration during my trip to the ICA ClarinetFest 2023 in Denver, Colorado. Voice and clarinet are my two passions, so I thought I would use Epilogue to put them together. This piece has yet to be premiered in its current form, but I hope to someday. If you would like to premiere it, please email me at alisonhanna29@gmail.com.

Instrumental Duet,Piano Alto Saxophone,Clarinet,Instrumental Duet,Piano - Level 5 - Digital Download

SKU: A0.1002829

Composed by Kyle Vanderburg. Contemporary. Score and parts. 46 pages. NoteForge #3885237. Published by NoteForge (A0.1002829).

Earmarks is a musical (and hopefully humorous) view of some of the issues in today's political climate, designed to make you make you laugh--or to make you think. And definitely to make you talk.

It starts out with Echo Chamber, where everything you hear is everything you want to hear. As we move more and more of our lives online, we're at the mercy of algorithms that try to deliver more of what we like--and give us options for removing that which we don't. The more time we spend in these echo chambers, the less we hear from dissenters. (The piano tries to come in with a new idea later in the movement, but is largely ignored).

The second movement, Filibuster, does what I initially intended. Although all three instruments do get to play, it's a lot of repeated, pleasant-sounding milquetoast stuff without a great deal of substance that never really resolves. And it has a repeat sign at the end that allows it to be played as many times as the performers wish. How long this movement is depends entirely on the whim of the pianist. 

A swing state is a state with a similar level of support for both parties that can go either way during an election. Likewise, Swing States is a piece for saxophone and piano, and a piece for clarinet and piano, and it's a struggle to see who's going to win. Will they sort out their differences? Will we?