Small Ensemble - Level 5 - Digital Download

SKU: A0.882388

Composed by David Chesky. Contemporary,Opera. Score and parts. 1497 pages. Pamaluc Music #18803. Published by Pamaluc Music (A0.882388).

This outrageous Fellini-esque satire superimposes the world of contemporary music onto the modern art scene, scorchingly skewering them both. To avoid being slaughtered by a lunatic farmer, Shirley the cow (a former hooker from Amsterdam), and her transvestite husband, Harvey, escape to New York's East Village, where they soon become all the rage of the highbrow art scene. Back on the farm, the Pig gets wind of their fame and follows to seek his artistic fortunes as well. Will the elitist critics accept the Pig's trendy conceptual art? Will the psychotic homesteader arrive in time to reclaim his prized hog? Will swine become the new black? Duration 120:00 min fl. / cl./ harp / 1 perc. / strings Solists: 3 Tenors, 1 Baritone, 1 Soprano Choir SATB Chesky could turn out to be a one-man Brecht–Weill for the twenty-first century. Opera News More reviews can be read here on the composers web site http://www.davidchesky.com/the_pig_the_farmer_and_the_artist.html.

Concert Band - Level 3 - Digital Download

SKU: A0.522163

Composed by Osman Zeki Üngör (1880-1958). Arranged by Colin Kirkpatrick. Contemporary. Score and parts. 31 pages. Colin Kirkpatrick Publications #4278327. Published by Colin Kirkpatrick Publications (A0.522163).

This quick and easy national anthem arrangement is essential for traveling musicians,bands, instrumental groups and both amateur and professional ensembles. You can play it with any virtually any combination of instruments: symphonic band,clarinet choir, brass ensemble, brass band, solos, duets and trios - almost anything!

This arrangement is in five independent parts each transposed into a variety of keys. For the most satisfying sound you’ll need to get a good balance between each part possibly with an emphasis on the melodic line. If you have a non-standard ensemble, you can pick 'n' mix as required. The piano reduction can fill missing parts or can be used as the basis for an accompaniment.

This arrangement consists of a two-page score with six instrumental staves (including timpani) and three percussion staves. The following parts are printed on separate pages. The score and all the parts are contained in the same pdf file.

Part1 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 1 in C (flute,oboe, piccolo, glockenspiel, violin); Part 1 in E flat (alto sax, E flat clarinet); Part 1a in C (octave above concert for flute, piccolo, oboe, violin)and Part 1a in E flat (E flat cornet in British-style brass band). Part 2 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 2 in C (violin); Part 2 in E flat (alto sax); Part 2a in C (octave above concert pitch for flute, oboe, violin); Part 2a in B flat for clarinets; Part 2a in E flat (minor 3rd below concert for E flat alto clarinet).

Part 3 in B flat (tenor saxophone, B flat baritone); Part 3 in C (bass clef for trombone,bassoon); Part 3 in C alto (alto clef for viola); Part 3 in E flat (tenor horn, alto sax); Part 3 in F (French horn);  Part 3a in B flat (8ve below concert for 3rd clarinets in band).

Part 4 in B flat (tenor sax, baritone); Part 4 in C (bass clef for trombone, euphonium,bassoon, cello); Part 4 in E flat (tenor horn, alto sax); Part 4 in F (French horn).

Part 5 in B flat (baritone); Part 5 in C (bass clef for trombone, euphonium, bassoon, tuba, double bass.

The arranger, Colin Kirkpatrick studied at London’s Royal College of Music and followed a career in music education. He was a High School Music Director for about fifteen years and later became a Music Education Adviser, with the added responsibility for training teachers. He has published a great deal of music and his publishers include Boosey & Hawkes, Novello, Paxton, Schott, Oxford University Press, Chester, Belwin Mills and Intrada (Netherlands). His music has been performed and broadcast all over Europe as well as in Japan, Thailand, Australia and the USA.

There’s also apart for timpani, percussion (3 players) and a piano reduction.

Instrumental Duet Cello,Guitar,Instrumental Duet - Digital Download

SKU: A0.942094

Composed by Apostolos Paraskevas. 20th Century,Contemporary,Halloween,World. Score and parts. 29 pages. Silver Sickle Publications #6092705. Published by Silver Sickle Publications (A0.942094).

 A Sunny Day in Hell - for Guitar and Cello

 A small introduction from the guitar opens the work which brings the introductory material as a feeling of a sluggish and almost joyful day, an opening with a dark feeling.  Almost like a sunny day in hell, I could say.  This opening material gives its turn to a fast-fierce agitated section in where the guitar mostly plays 16th triplets and the cello introduces an exotic dance-like tune. A limping dance, I must add given the title’s influence.  Almost like a small party in hell.  The following slow section brings up a sad melancholic mood where both instruments share new material with an evocation of a past happy life. The work ends with the main fast material in a variation form. It was my intention to compose a friendly work for performers and audiences.

First twist:

Performers:  prepare audience for an upcoming performance twist/surprise which will not come (at least not during performance). If or when members of the audience later ask about it, performers should assure them that the twist is still an upcoming great event. Have them re-live the performance as they wonder for years to come...

If members of the audience should coerce or threaten you by force, you may reveal the twist: In the unfortunate event that you may later end up in hell, this performance guarantees that you will have at least one Sunny Day in Hell

Optional Second twist:

Performers, could as an extra touch, wear fangs (teeth of a vampire or devil) and after performance could reveal them by either biting the lip or casually smiling or yawning at the audience. No audience preparation is needed for this twist. Although wearing Fangs during the performance, could be a nuisance to some performers, they could give to the work a special extra bite. As a variation, fangs could be wore after the end of the performance.

 Apostolos Paraskevas, Boston 2008