Alto Saxophone,Piano - Level 4 - Digital Download SKU: A0.533353 Composed by Ali Ben Sou Alle, Vincenzo Bellini. Arranged by Paul Wehage. Concert,Opera,Romantic Period,Standards. Score and part. 28 pages. Musik Fabrik Music Publishing #2363203. Published by Musik Fabrik Music Publishing (A0.533353). One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (Charles-Valentin Soualle) was born in1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director ofmusic of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London.While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series inLondon. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octavemechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and begantouring performing solo recitals (or mono-concerts, as they were called at the time) calling his modified saxophone the«turcophone ». He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, throughChina and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It wasduring this period that he converted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). Hesubsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyageswere subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection knownas The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution.Around 1860, Soualle returned to France for health reasons and began publishing his own music. On March 27 1865, heperformed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire ImperialFamily. After 1865, nothing more is known about him.This fantasy begins with motifs from the 1st act chorus « Sempre Felc’Amina » ». The Count’s first act aria « Vi ravisso, o loughi ameni » is followed by an extended cadenza and leads to Amina and Elvino’s first act duo « Prendi l’amel ti dono ». Amina’s second act aria « Ah non guige! » is presented with a brilliant variation to bring the work to a close.

Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.533347 Composed by Ali Ben Sou Alle, Wolfgang Amadeus Mozart. Arranged by Paul Wehage. Concert,Opera,Romantic Period,Standards. Score and part. 22 pages. Musik Fabrik Music Publishing #2348197. Published by Musik Fabrik Music Publishing (A0.533347). One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (Charles-Valentin Soualle) was born in 1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director ofmusic of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London. While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series in London. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octave mechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and began touring performing solo recitals (or mono-concerts, as they were called at the time) calling his modified saxophone the «turcophone ». He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, through China and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It was during this period that he converted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). He subsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyages were subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection known as The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution. Around 1860, Soualle returned to France for health reasons and began publishing his own music. On March 27 1865, he performed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire Imperial Family. After 1865, nothing more is known about him. Soualle not only performed on the clarinet, saxophone and piano, but also frequently sang during his concerts. He also wrote songs while he was in London. His opera fantasies are usually written for the Alto saxophone and are generally in the form of an introductory aria with cadenza, a theme with one or more variations and then a final waltz movement in rondo form with a final brillant variation. This specific work opens with motives from the Opera‘s overture, leading to Donna Anna’s 1st act aria Or sai, chi l'onore. The duet Là ci darem la mano is the subject of two variations followed by a brief interlude using Zerlina’s aria Batti, batti, o bel Masetto and then the final section is the duo Andiam’ Andiam ‘ Mio Bene between Don Giovanni and Zerlina which ends the Act I duet. The work ends with a brillant coda

Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Digital Download SKU: A0.503789 By Bee Gees. By Barry Gibb, Maurice Gibb, and Robin Gibb. Arranged by Antônio S. Fernandes. Multicultural,Pop,Rock,Romantic Period,World. 5 pages. Published by Antônio S. Fernandes (A0.503789). I Started a Joke is a song by the Bee Gees from their 1968 album Idea, which was released as a single in December of that year. It was not released as a single in the United Kingdom, where buyers who could not afford the album had to content themselves with a Polydor version by Heath Hampstead. This is the last Bee Gees single to feature Vince Melouney's guitar work, as he left the band in early December after this song was released as a single. The song's B-side was Kilburn Towers, except in France, where Swan Song was used. I Started a Joke was written by Barry, Robin, and Maurice Gibb, and produced by the Bee Gees with Robert Stigwood. #BeeGees #IStartedAJoke #QuartetWood #Clarinet #Oboé #Bassoon #Flute #SheetMusic.

Piano Solo - Level 4 - Digital Download SKU: A0.1385639 Composed by Donald Ashwander. Ragtime. Score. 6 pages. The Donald Ashwander Estate #969578. Published by The Donald Ashwander Estate (A0.1385639). Step into the rollicking world of contemporary ragtime with Donald Ashwander's exuberant piano masterpiece, Moving Man. This spirited composition is a testament to Ashwander's prowess in infusing traditional ragtime elements with a modern flair, creating a vibrant and dynamic sonic experience that is both a joy to play and a thrill to listen to.From the first keystroke, Moving Man propels the listener into a rhythmic adventure, where the piano becomes a lively storyteller weaving tales of motion and momentum. Ashwander's keen sense of rhythmic drive is unmistakable, and it propels the piece forward with an infectious energy that will have both performer and audience tapping their feet in unison.One of the defining features of Moving Man is Ashwander's ability to seamlessly blend intricate melodies with the infectious syncopation of ragtime. The result is a composition that not only showcases technical brilliance but also serves as a celebration of the sheer joy found in the act of making music. Whether you're a performer seeking a delightful challenge or an avid listener yearning for an uplifting musical journey, Moving Man delivers on all fronts. Donald Ashwander invites you to join him on this spirited adventure through the keys, where the piano becomes a conduit for pure musical delight. So, buckle up and get ready for a lively ride as Moving Man takes you on a joy-filled exploration of the boundless possibilities within the realm of contemporary ragtime.

Piano Solo - Level 4 - Digital Download SKU: A0.972647 Composed by James Siddons. Arranged by James Siddons Music and Writings. 20th Century,Blues,Concert,Jazz,Spiritual. Score. 12 pages. James Siddons Music and Writings #4350581. Published by James Siddons Music and Writings (A0.972647). About the Sonata Hymnica Series Program Note Composer James Siddons draws on the ethos of American rural hymns and spirituals to create evocations of the deeper, larger meaning of familiar church melodies. These sonatas for piano solo explore these deeper meanings in a variety of contemporary musical influences, while keeping in mind the acoustics of small rural churches of the late nineteenth century, with wooden floors and walls, high ceilings, and dimensions determined by local builders who knew how to shape a room for excellent acoustics in an age of no electricity and no microphones. These sonatas are but partly about the specific melodies and words, and mostly about their meaning in spiritual contemplation . . . and the piano, resonating, reverberant, sometimes whispering---as a sacred harp.             Although these sonatas have no specific titles, the first sonata may be thought of as the Prayer Sonata, the second as the Travel Sonata, as in a spiritual journey, and the third sonata is about our greatest fear, that of being alone and without God. Sonata Hymnica No. 3 draws on two melodies from the African-American experience. One, Were You There (When They Crucified My Lord)? was first published in 1899 in W. E. Barton’s Old Plantation Hymns but existed earlier as a folk hymn. It became the first spiritual to be included in a major hymnal, The Hymnal 1940 of the Episcopal Church in the U.S.A. Sometimes I Feel Like a Motherless Child was sung by the Jubilee Singers of Fisk University from 1870 on, and was published in the Rev. Dr. Barton’s Old Plantation Hymns in 1899. Performance Note The pianist must keep in mind that these sonatas are about playing the piano as much as playing a composition. Musical effects characteristic of the piano and descriptive of the memory in American culture are the substances of these piano solos. Touch is important: in many places, several dynamics are called for on the same beat. Duration --- . Sonata Hymnica No. 3 --- 9 minutes. About the Composer Composer, musicologist, and pianist James Siddons studied composition with Dika Newlin, a protégé of Arnold Schoenberg, and electronic music with Merrill Ellis, founder of the electronic music program at the University of North Texas, where he also earned a PhD in musicology. After a year at the University of London, where he studied musical analysis at King’s College and electronic music at Goldsmiths’ College, Siddons spent two years in Japan as a research scholar at Tokyo University of Arts, participating in the Ethnomusicology Seminar of Fumio Koizumi. Siddons has also studied theology and liturgy at the Duke University Divinity School. In addition to books and articles on contemporary music and music in Japan, Siddons was written compositions in many genres. Recordings of his piano performances are available at online streaming services. His website is www.JamesSiddons.com His performing rights organization is ASCAP.

Concert Band - Level 4 - Digital Download SKU: A0.1385649 Composed by John Ireland. Arranged by John Ivor Holland. 20th Century,Christian,Classical,Religious. 82 pages. John Ivor Holland #969580. Published by John Ivor Holland (A0.1385649). John Ireland studied piano with Frederick Cliffe and composition with Charles Villers Stanford at the Royal College of Music in London, where he himself taught between 1923 and 1939, his pupils including Benjamin Britten. He worked as organist and choirmaster at St Luke's Chelsea between 1904 and 1926, while developing his career as a composer. Ireland retired in 1953, settling in the hamlet of Rock in Sussex, where he lived in a converted windmill for the rest of his life. It was there he met the young pianist Alan Rowlands who would be Ireland's choice to record his complete piano music.He died of heart failure aged 82 at Rock Mill in Washington, Sussex, and is buried at St. Mary the Virgin in Shipley, near his home. His epitaph reads Many waters cannot quench love and One of God's noblest works lies here. His organ music belongs largely to the early years of his composing career (1902-1911), however, the 'Meditation' on John Keble's Rogationtide Hymn was written in 1958, and was his very last composition. Arranged for concert band, including parts for string bass and contrabass woodwind, as well as attractive moments for Cor Anglais.

Choral Choir,Choral,SSAA Chorus - Level 3 - Digital Download SKU: A0.1475304 Composed by Jocelyn Scofield. 21st Century,A Cappella,Singer/Songwriter. 33 pages. Bilsco Music #1052847. Published by Bilsco Music (A0.1475304). SCORES INCLUDED:Full Score & Parts Scores: Solo+Sopranos, Mezzos+Altos, CajonPERFORMANCE NOTES FROM THE COMPOSER:I AM is a singing meditation. It is both a piece that honors the individual and the whole. It is meant to affirm an individual's worth, as well as the whole collective. When a choir prepares for a performance, they rehearse a piece dozens if not hundreds of times. I wanted the experience of rehearsing I AM to be an ongoing declaration of the singer’s value. Therefore, every phrase in this piece is an affirmation. When a singer finds themselves singing the piece outside of rehearsal, they will be singing words that are positive and affirming. I cannot express how much joy that brings me as a composer.Musically, I AM is both complex, with its 7-part vocal split, contrasting rhythms, and varying accents, yet simple in its repetition, lyrics, and tonality. Each of the 7 parts sings a unique affirmation throughout the piece. They are simple statements like, I am enough and I am love, but can hold so much complexity depending on an individual's relationship with the statement. In the middle of the piece, there is an aleatoric section where each singer contributes their unique affirming statement. It creates a chaotic building of sound before coming together for the first and only time in the piece to sing I AM as a whole choir in block chords.  It is one of my favorite moments in the piece because simple and complex are just a beat apart.I AM was commissioned by the Grand Rapids Women's Chorus and premiered on May 10, 2024.  If you would like to hear more about the creation of the piece, you can hear the composer's original explantions on Youtube.

Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1496482 Composed by Tiffany Prochera. Arranged by Tiffany Prochera. Children,Christmas,Holiday. Score. 79 pages. Swimming Tigress Music #1073003. Published by Swimming Tigress Music (A0.1496482). I Don't Like Winter and Other Songs to Celebrate the Winter Season is a collection of 11 songs for young singers filled with tunes about all aspects of the winter season - from skating alone on the pond in the backyard, picking out presents for siblings,  spending time with the family, embracing the cold, wanting to escape the cold, going to visit Santa for the first time, and being so enthusiastic to celebrate all of the special days that happen at this time of year!This collection was inspired by a voice teacher friend of mine - serendipitously also named Tiffany  :-) -  who was looking for songs about the season that were non-traditional and relatable to a wider range of singers. It's my pleasure to offer up some options!I had so much fun writing these songs and I hope students, teachers, and audiences alike enjoy them just as much! May you laugh as you state your case to go on a winter vacation.  May you cry at the idea of wearing a special hat made with a grandmother's love. May you be left  breathless with joy as you glide on a frozen pond with no one else around.  In addition to all of these brand-spankin' new tunes, I also included the previously-released  Everyone's a Kid at Christmas because, well, it's a hoot!These are crowd pleasers perfect for holiday recitals, and some can be performed in a group as well as solos.A note for teachers: These songs do have varying ranges. I, for the most part, notated them as I conceived of them. But I did my best to provide alternate pitches in case the melody goes a little high or a little low. So, I invite to you peruse a song in it's entirety and see where there may be options even if the designated range may seem a little wide. It is my intention to make these songs as accessible to as many singers as possible.

Piano Quintet Piano - Level 3 - Digital Download SKU: A0.552116 Composed by C. Franck. Arranged by James M. Guthrie. Instructional,Romantic Period,Standards,Wedding. 17 pages. Jmsgu3 #6120511. Published by jmsgu3 (A0.552116). Ceasar Franck: Panis Angelicus (Bread of Angels) from Messe a trois voix, Op. 12.  A famous Eucharistic hymn, notably sung at the Feast of Corpus Christi. This version suits Lent, Easter, or any Christian eucharistic service. It is also an excellent choice for a recital encore because of the potential for musical expressivity.César Franck's Panis Angelicus is significant for several reasons:Musical Significance: Panis Angelicus is a well-known piece of music composed by César Franck. It is a verse from the hymn Sacris solemniis written by Saint Thomas Aquinas for the feast of Corpus Christi. Franck's composition of Panis Angelicus is particularly famous and recorded numerous times, making it one of his most enduringly popular works. Liturgical Context: The hymn Sacris solemniis was written by Saint Thomas Aquinas in the 13th century, and Panis Angelicus is the penultimate stanza of this hymn. It has often been set to music separately from the rest of the hymn, and Franck's setting for tenor voice, harp, cello, and organ is one of the most well-known. Performance History: Panis Angelicus has been performed at significant events, such as the royal wedding of Princess Eugenie and Jack Brooksbank, as well as the Requiem Mass for Robert F. Kennedy and Senator Edward Kennedy's Requiem Mass, where its beauty and emotional impact were particularly notable. Inclusion in Mass: Although known primarily as a stand-alone piece, Franck also included Panis Angelicus in his Mass for Three Voices, adding to its significance within the liturgical context. In summary, Panis Angelicus is significant for its musical beauty, its historical and liturgical context, and its emotional impact when performed at important events. Franck's composition of this hymn has secured its place as one of his most enduringly popular works.

Piano Solo - Level 2 - Digital Download SKU: A0.1368455 By Jose Valladares. By Johann Sebastian Bach. Arranged by Jose Valladares. Baroque. Score. 1 pages. Circlesquare Music #952801. Published by Circlesquare Music (A0.1368455). The March in D Major, BWV Anh. 122 is attributed to Johann Sebastian Bach, one of the most influential composers of the Baroque era. However, it's important to note that BWV Anh. 122 is part of the Anhang (Anh.), a section of the Bach-Werke-Verzeichnis (Bach Works Catalogue) that includes works of dubious authenticity or those once attributed to Bach but later found to be composed by other composers. In the case of BWV Anh. 122, it's generally believed that the piece was not composed by J.S. Bach himself but rather by one of his contemporaries or successors.Despite the uncertainty regarding its true composer, the March in D Major, BWV Anh. 122 is a delightful and spirited composition that exhibits the stylistic characteristics of the Baroque period. Here are some key aspects of the piece:Baroque Style: The piece reflects the Baroque style, known for its emphasis on contrast, movement, and clear, structured forms. The march is typically characterized by a steady, processional rhythm, and BWV Anh. 122 exemplifies this with its clear, marching tempo.D Major Key: Being in D Major, the piece likely has a bright and jubilant character. D Major is often associated with grandeur and triumph, making it a popular choice for celebratory and ceremonial music during the Baroque period.Keyboard Composition: Like many of Bach's (or his contemporaries') compositions, this march is likely composed for the keyboard, which during Bach's time would have included instruments like the harpsichord or the clavichord. It might also be adaptable for performance on the modern piano.Structure and Texture: The piece probably features a contrapuntal texture, a hallmark of Baroque music, where two or more melodic lines are woven together harmoniously. The structure of the march is likely to be straightforward and symmetrical, reflecting the order and balance prized in the Baroque era.Pedagogical Use: Pieces like the March in D Major, BWV Anh. 122 are often used for educational purposes, helping students develop a sense of rhythm, form, and Baroque style. They are suitable for intermediate-level students who are exploring the stylistic features of Baroque keyboard music.

Two Violins, Piano - Digital Download SKU: IZ.PDP300 Composed by Rebecca Clarke. Score and Parts. 52 pages. Imagine Music - Digital #PDP300. Published by Imagine Music - Digital (IZ.PDP300). 9 x 12 inches.Clarke worked on the Pieces for Two Violins and Piano during 1909, her last year at the Royal College, when Danse Bizarre gained her a scholarship. Clarke mentioned Danse Bizarre in her typescript memoir composed in the 1970s, and also discussed it with me in 1977 while helping me catalogue her compositions, but she said then that it was long lost, and made no mention of any related material. In the year 2000, however, Clarke's great-nephew Daniel Braden found.a box that Clarke had put in the back of a closet decades before and evidently forgotten, which turned out to contain a chaotic assortment of letters, papers, medical records, and music-manuscript sheets. When put in order, the latter yielded the missing inner leaf of an important viola piece and a number of previously unknown or presumed-lost arrangements and compositions, including ''Danse Bizarre and a Prelude, a Nocturne, and the beginning of a Finale for the same instruments, on the same paper, and bearing similar markings in Clarke's hand and in at least one other hand, which may well be Stanford's. The four movements were plainly developed as a suite, although there is nothing to suggest a sequence for the inner movements, and no compelling reason to believe that the Finale ever got beyond the extant eight pages. The manuscript of the Finale is noticeably rougher than those of the other movements, and several pencil-markings, apparently in another hand, suggest that some of its motivic material had not yet jelled. It seems entirely possible that Clarke had only begun this movement when a family crisis forced her to leave the College, and that she never returned to it. In any case, there is not enough of the Finale to make performance feasible, but the other movements stand quite magnificently on their own. They were recorded by Lorraine McAslan, David Juritz, and Ian Jones on Dutton CDLX 7132, released in 2003. The first public performance, by students at the Royal College under Jones's supervision, took place in May 2005 in the College's Concert Hall, where Clarke had last performed nearly a century before.

Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 2 - Digital Download SKU: A0.553348 Composed by Edward MacDowell. Arranged by Ray Thompson. 20th Century,Contemporary,Holiday,Standards,Wedding. 10 pages. RayThompsonMusic #2081651. Published by RayThompsonMusic (A0.553348). Edward Alexander MacDowell (December 18, 1860 – January 23, 1908) was an American composer and pianist of the late Romantic period. He was best known for his second piano concerto and his piano suites Woodland Sketches, Sea Pieces and New England Idylls. Woodland Sketches, Op. 51, is a suite of ten short piano pieces . It was written during an 1896 stay at MacDowell's summer retreat in Peterborough, New Hampshire, where each piece was inspired by a different aspect of the surrounding nature and landscapeThe suite's first piece, To a Wild Rose, is MacDowell's best known single work according to the musicologist H. Wiley Hitchcock,and it achieved what Bomberger described as phenomenal popularity. MacDowell believed the work's popularity arose because the publisher spread its score generously across two pages.The piece begins with a spare melody, based on a simple one from the Brotherton Indians.The melody is played in short fragments and accompanied by chords and pedal points. The climax consists of a repeated dominant ninth chord, which can also be heard as a version of the Tristan chord. The piece concludes with a Scotch snap rhythm. Crawford opined that the piece's harmony saves it from blandness.Arranged for wind quintet…It could have been written for wind quintet!Other pieces are available.

Piano Solo - Level 5 - Digital Download SKU: A0.876864 Composed by Rhonda Bradley. 20th Century,Contemporary,New Age,Pop. Score. 5 pages. Miss Rhonda’s Piano Music #2907497. Published by Miss Rhonda’s Piano Music (A0.876864). Coming to a Close from the piano solo CD Where Everything is MusicAdvanced piano solo by Rhonda Bradley5 pages (including cover)This crowd-pleaser is worth every moment of your efforts because you'll continue playing it for a lifetime. Built on a strong and unforgettable melody, this song shines thanks to its' backdrop of busy and relentless harmony in the key of C minor. It's a combination of the Baroque, Classical, and New Age genres that never fails to stop passersby from asking What song is that?This piece does not include finger numbers but instead leaves them up to the choice of the performer. There are a handful of finger numbers written into the first two measures as a suggestion.Please check out the MP3 sample above -- it's listed just below the smaller thumbnail underneath the words look inside.Tips for learning this piece:- Write in the finger numbers as you choose them. Determining which finger numbers you'll use is the greatest challenge.- Memorize as you go. It won't be possible to read and perform this song at a professional level. Your hands will be all over the keyboard and you'll need your eyes to be there, too!Please let me know if there's any way I can help you in learning this piece. Enjoy!

Piano Solo - Level 5 - Digital Download SKU: A0.1425804 By Damien Gauci. By Damien Gauci. Contemporary,New Age. Score. 10 pages. Damien Gauci #1006564. Published by Damien Gauci (A0.1425804). I rarely start by writing a composition with the name in mind but it’s something that I try to do more often and it’s something that I for this piece. When I came up with the name ‘Bloom’ I really wanted to write a piece or at least an opening section that sounded like that word, where the music blooms out like a flower. The first and last section are the same and are just a chordal pattern that rises up from the left hand into the right hand. This kind of writing is simple but quite effective as it slowly evolves over time as the chords change and allows for reflective mood.The middle section does go in a bit of a different direction but I still wanted to infuse elements from the first section into this section as well as use the gesture of ‘Bloom’ in some way. This sections still evolves in it’s own way but I would say I wrote it in a more through-composed style with different little themes that come and go. I hope you are able to image the music ‘Bloom’ when you listen to it.

Concert Band - Level 3 - Digital Download SKU: A0.492627 Composed by John R. Daniels. Classical,Standards,Traditional. Score and parts. 49 pages. John R. Daniels #107889. Published by John R. Daniels (A0.492627). In the spirit of Scott Joplin, The Old Warsh Rag is a ragtime piece for concert band. It’s intricate enough to offer a bit of a challenge, yet very playable so that the band enjoys its efforts. There’s a counter melody that is played by itself and then superimposed on the main melody at the end. It’s written for high school concert band or community band; I chose the key so that, even when it gets a bit intricate, it should be easy enough for everyone to play. The title for The Old Warsh Rag is a tribute to the unique way that people speak where I grew up in southwestern Pennsylvania.IF YOU WOULD LIKE YOUR ENSEMBLE TO GAIN MORE MEDIA EXPOSURE, please record your performance of this piece and email it to CustomMusic@Salt-Cellar-Creations.com. It will be included in my social media postings and website samples with any contact info you may want to provide. If you need help with recording technique or email transfer, etc. please contact me. For more information about the composer / arranger and other services, go to www.Salt-Cellar-Creations.com.