Piano,Tuba - Level 1 - Digital Download SKU: A0.1508717 Composed by Traditional. Arranged by Valdir Maia. Advent,Christian,Christmas,Holiday,Traditional. Score and part. 2 pages. Valdir Maia #1083984. Published by Valdir Maia (A0.1508717). Away in a Manger – Tuba and PianoCelebrate the holiday season with this captivating arrangement of Away in a Manger for tuba and piano. Perfect for festive performances, this traditional Christian Christmas song brings a deep, resonant sound to any holiday event.Designed for musicians of all levels, this arrangement is ideal for church services or seasonal concerts. The tuba’s rich, powerful tones, combined with the piano accompaniment, create a memorable and uplifting experience for your audience.PDF of high-quality score and parts available for immediate download. Add this classic Christmas music to your repertoire today!**Key Features:**- Scored for tuba and piano- Traditional Christian Christmas music- High-quality PDF download: scores and parts includedDon’t miss out—order your copy now and elevate your holiday performance!

Woodwind Ensemble,Woodwind Trio Alto Saxophone,Baritone Saxophone,Soprano Saxophone - Level 4 - Digital Download SKU: A0.534363 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque,Sacred,Standards. 179 pages. Musik Fabrik Music Publishing #3387883. Published by Musik Fabrik Music Publishing (A0.534363). The Six Trio Sonatas, BWV 525-530 were composed about 1727 during Bach’s period in Leipzig. They were not composed for organ, but (according to Forkel, Bach’s first biographer whose information came from Bach’s son Carl Philip Emmanuel Bach) for the pedal harpsichord as means of improiving the pedal technique of his son Wilhelm Friedemann Bach. This instrument, which requires a great deal of precision in performance, contains a normal harpsichord with two manuals attached to a pedal board which activates another harpsichord which is lower to the ground. Many of the movements in these Italian sonatas were used in other settings, in Bach’s Cantatas and in other instrumental works.Bach always tuned his own keyboards and confided his tuning system to his student Johann Kimberger (1721-1788) who used this information to devise several tuning schemes to create a well-tempered system according to Bach’s ideas. The main principal that Bach gave Kimberger was that all thirds should be tuned slightly sharp (...alle grossen Terzen scharf). The saxophone is an ideal instrument to experiment with this sort of tuning, given the possibilities for adjustment in the embouchure. Nothing can replace a good set of ears in the process and use of electronic tuning devices should be avoided, unless they can be specifically programmed to reflect these sorts of non-standard tunings.Sonata no. 1 in Eb major, BWV 525 Sonata no. 2 in c minor , BWV 526 Sonata no. 3 in d minor, BWV 527 Sonata no. 4 in e minor, BWV 528 Sonata no. 5 in C major, BWV 529 Sonata no. 6 in G major, BWV 530

Oboe Solo - Level 5 - Digital Download SKU: A0.1018926 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 4 pages. Benjamin Sajo #6072953. Published by Benjamin Sajo (A0.1018926). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.

Flute Solo - Level 5 - Digital Download SKU: A0.1018923 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 4 pages. Benjamin Sajo #6072949. Published by Benjamin Sajo (A0.1018923). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.

Flute Solo - Level 5 - Digital Download SKU: A0.1018922 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 4 pages. Benjamin Sajo #6072947. Published by Benjamin Sajo (A0.1018922). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.

Oboe Solo - Level 5 - Digital Download SKU: A0.1018925 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 4 pages. Benjamin Sajo #6072955. Published by Benjamin Sajo (A0.1018925). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.

String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1107440 By Nathan Evans. By Alexander Oriet, David Phelan, and Nathan Evans. Arranged by Joel Jacklich (A.S.C.A.P.). 19th Century,Folk,Multicultural,World. 12 pages. Joel Jacklich #710097. Published by Joel Jacklich (A0.1107440). New Zealand-based music teacher and folk music compiler Neil Colquhoun claimed to have collected the song around 1966 from one F. R. Woods. Woods, who was in his 80s at the time, had allegedly heard the song from his uncle. it was attributed to one D.H. Rogers. It has been speculated that Rogers was the uncle of Woods and that Rogers had worked as a teenage pirate or shore whaler in the early-to-mid 19th century, composing this and another song in his later years and eventually passing them on to his nephew as an old man. Nathan Evers recorded the work in 2021 during the COVID pandemic and it became a viral sensation with house-bound Tik-Tokers sparking a whole re-introduction of sea shanties in what was termed Shanty-Tok. This string quartet arrangement gives all instruments a chance at the melody, and adds the affectation of a foot-stomp and a shout at the ends of verses. The history of whaling in New Zealand stretches from the late eighteenth century to 1965. In 1831, the British-born Weller brothers Edward, George, and Joseph, who had emigrated to Sydney in 1829, founded a whaling station at Otakou near modern Dunedin in the South Island of New Zealand, seventeen years before Dunedin was established. The Weller brothers had on their voyage to New Zealand brought in the 'Lucy Ann' (the Weller brothers' barque) a good deal of rum and a good deal of gunpowder. From 1833, the Weller brothers sold provisions to whalers in New Zealand from their base at Otakou, which they had named Otago in approximation of the local M�ori pronunciation. The song's lyrics describe a whaling ship called the Billy o' Tea [Note: a billy is a pot in which water is boiled to make tea or coffee] and its hunt for a right whale. The song describes how the ship's crew hope for a wellerman to arrive and bring them supplies of luxuries. According to the song's listing on the website New Zealandfolk Song, the workers at these bay-whaling stations (shore whalers) were not paid wages, they were paid in slops (ready made clothing), spirits and tobacco. The chorus continues with the crew singing of their confidence that the tonguin' will be the last step of their plight. Tonguing in this context refers to the practice of cutting strips of whale blubber to render into oil. Subsequent verses detail the captain's determination to bring in the whale in question, even as time passes and the quartet of whaling boats is lost in the fight. In the last verse, the narrator conveys how the Billy o' Tea is still considered locked in an ongoing struggle with the whale, with the wellerman making his regular call to strengthen the captain and crew. Note from Wikipedia.

Piano and voice - Digital Download SKU: LV.23205 Composed by Walter Donaldson. World War I, Cartoons, Soldiers, Portraits, Patriotism, Immigrants. Lester S. Levy Collection. 3 pages. Published by Johns Hopkins University Sheridan Libraries (LV.23205). The Army's Full of Irish (A Man From Erin Never Runs, He's Irish). Words by Bert Hanlon. Music by Walter Donaldson. Published 1917 by M. Witmark & Sons in New York. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include World War I, Cartoons, Soldiers, Portraits, Patriotism, Immigrants. First line reads It's always taken an Irishman to prove that might was right.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.

Woodwind Ensemble Double Reed Quartet - Level 5 - Digital Download SKU: A0.1397731 Composed by Johann Sebastian Bach. Arranged by Lydia Consilvio. Baroque,Classical,Contemporary. 64 pages. Songburd Music #981022. Published by Songburd Music (A0.1397731). Dr. Lydia Consilvio’s arrangement of Johann Sebastian Bach’s keyboard Partita No. 3 in A Minor (BWV 827) presents a fresh expression of Bach’s keyboard suite, giving listeners a new way to hear and appreciate this delightful work. Drawing upon the Bach-Gesellschaft edition, Consilvio’s reimagination for two oboes, English horn, and bassoon stays true to the original keyboard score and thoughtfully contributes to the double reed repertoire.  This adaptation for small wind ensemble naturally creates complementary and flexible dynamics that allow sonorities to emerge in a manner not possible on the harpsichord or piano—enhancing the phrasing and coloristic possibilities inherent in the music. Consilvio’s distribution of melodic material clearly highlights Bach’s use of voices (usually two or three within a single line) through a conversational woodwind dialogue. Notably, Bach’s keyboard Partita No. 3 is comprised of movements based on Renaissance dance forms— allemande, corrente, sarabande, and gigue—each influenced by the step-pattern of that specific dance.  These Renaissance dances were typically accompanied by families of like instruments in small ensembles called “consorts;� fittingly, the instrumentation of this arrangement captures both the original medium for the dance sets, and the Baroque taste and style of Johann Sebastian Bach.

Piano Solo - Level 4 - Digital Download SKU: A0.958822 Composed by Germán Amor y Juan Carlos Cortés A. Arranged by Juan Carlos Cortés A. Concert,Traditional,World. Score. 4 pages. Juan Carlos Cortés Aguirre #6873835. Published by Juan Carlos Cortés Aguirre (A0.958822). Pasodoble dedicado a la histórica Plaza de Toros La Macarena de la ciudad de Medellín. Con texto por: GERM�N AMOR Música por:JUAN CARLOS CORTÉS A.MacarenaLetra por: Germán Amor.Música por: Juan Carlos Cortés A.INTRODUCCIÓN:Tardes de toros sin fin, como en España gloriosas,vistas en la Macarena, como si fuera en Madrid.Plaza de la Macarena, reina de la torería,donde mató Juan Belmonte, mejor que en Andalucía.INTERLUDIO:Manuel Rodríguez El monstruo, baño de sangre tú arena,en manoletinas maestras, que aún Medellín recuerda.TOQUE CAMBIO DE TERCIO:Tardes que jamás se fueron, las de Miguel Dominguín,hasta Dios tras un buril, no se perdía faena.De Arruza guarda sus quiebres, del Cordobés su valor,pero tu orgullo más grande, se llama César Rincón.

Oboe Solo - Level 4 - Digital Download SKU: A0.983174 Composed by Craig Wadley. 21st Century,Chamber,Contemporary,Contest,Festival. Individual part. 5 pages. Wadley Publications #4980645. Published by Wadley Publications (A0.983174). The title of Sonar’s Riddle is an anagram of Dr. Daniel Ross, and stands as a tribute to a musician known for both his kindness and humor. Dr. Daniel F. Ross (1944-2019) was a Professor of Music at Arkansas State University, where he taught the double reed studio from 1968 to 2018. During his illustrious career, he became known as not only a world-class musician, but an innovator in the field of reed-making with his Ross Gouging Machine. As a performer, he served as Principal Oboist with the Arkansas Symphony and performed with the North Arkansas Symphony, Arkansas Philharmonic Orchestra, Tupelo Symphony, Delta Symphony, Atlanta Symphony, Nashville Symphony, the St. Louis Symphony, and the St. Louis Chamber Music Society. He was a frequent soloist with the Forum Sinfonia of Krakow, Poland, touring with them in the United Stated and Europe. He held the title of Visiting Professor of Oboe at the Academy of Music in Krakow, Poland and has been a soloist with the St. Petersburg and Moscow Philharmonic orchestras in Russia. As a teacher, Dr. Ross stressed the importance of expression. For him, being a musician was an extension of being human. In order to make music, one must cross the threshold from producing technically accurate sounds into a mysterious and sometimes elusive realm of heart, love, compassion, gentleness, and joy. In Dan Ross’ studio, one learned that a musician capable of evoking strong emotions must first be a person of great character. Dan Ross excelled in all things musical, but more importantly, he was an excellent man. He may well be remembered as a great musician, a great performer and teacher, or as an innovator in the art of reed making. But his true legacy lies in the hearts that he touched and the lives that he molded. I count myself fortunate to have been one of many. Sonar’s Riddle is a brief musical portrait of Dr. Dan Ross, attempting to capture the essence of his kind spirit and boundless humor.

Piano Accompaniment, Violin, violin solo - Advanced Intermediate - Digital Download Composed by James Michael Stevens. Arranged by James Michael Stevens. Post- Romantic, Sacred, Valentine's Day, Wedding, New Age. Sheet Music Single. 8 pages. Published by James M Stevens Music ASCAP

Piano Solo - Level 5 - Digital Download SKU: A0.882135 Composed by 13th-century chant. Arranged by Samuel Wellman. Christian,Christmas,Romantic Period. Score. 3 pages. Samuel Wellman #4969531. Published by Samuel Wellman (A0.882135). Traditionally a Christmas tune, this hymn typically appears unmetered to reflect the free rhythm of the original chant. I used changing meters to retain this freedom. It's a tricky tune to sing or conduct, but the powerful text from the 4th century affirms the deity of Christ.

Organ - Level 1 - Digital Download SKU: A0.1142180 Composed by Vidas Pinkevicius. Christmas,Contemporary,Praise & Worship,Religious,Sacred. Score. 2 pages. Vidas Pinkevicius #742559. Published by Vidas Pinkevicius (A0.1142180). This is a Bicinium on a beloved Christmas carol Away in a Manger. It's notated on two staves and could be played on small organs (even on one manual chamber organ). The right hand staves plays the tune and the left hand plays the accompaniment and refrain which connects the phrases of the hymn. This piece will be very effective in liturgical organ playing and recitals whenever contemplative music is desired. Dedicated to Scott Werdebaugh.

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.876428 Composed by Joe Procopio. Blues,Pop. Score. 3 pages. JoeCopio Music LLC #1947. Published by JoeCopio Music LLC (A0.876428). A WOMEN’S BLUES By Joe Procopio From the CD ALL IN MY LIFE A WOMENS BLUES is a pop song describing the feelings of some women of today. The Blues is melancholic music and the lyrics of this song express a kind of pensive sadness with no apparent cause. The backing track of music however is uplifting. The result is a song with a curious combination of feelings that are both heartbroken and happy at the same time. There two recorded versions of this song. One was recorded in a studio in California the other is the original recording. The original is a homemade recording done in the Gymnasium of an Elementary School in New Woodstock, NY with Mark Freeman on Drums, brother Greg on both the Guitar and Flute solo, and Barbie Briars doing the vocals. You can also hear Barbie on The Touch, The Taste Of Time, Why Are You So Lonely, For You My God and Maybe It’s The Way. These recordings can be found at Sheet Music Plus, iTunes, Amazon, etc., on a CD entitled All In My Life by the author. The printed sheet music here shows the song as a Lead Sheet. That is, the melody, the lyrics and the chords. JOE PROCOPIO IS THE AUTHOR OF THE VERY BEST AND LOWEST PRICED MUSIC EBOOKS AVAILABLE WORLDWIDE INCLUDING THE AWARD WINNING BASIC MUSIC THEORY.