Clarinet,Piano - Level 4 - Digital Download SKU: A0.1236624 Composed by Christian Morris. Contemporary. Score and part. 32 pages. Hoopla Sheet Music #832144. Published by Hoopla Sheet Music (A0.1236624). An exciting concert piece inspired by U.S. WW2 pilot, John Gillespie Magee’s iconic poem ‘High Flight.’ In the opening he describes the the magnificent and exhilarating sensation of flying. In the more contemplative second section he seems to breach the veil between earth and heaven: Oh! I have slipped the surly bonds of EarthAnd danced the skies on laughter-silvered wings;Sunward I've climbed, and joined the tumbling mirthof sun-split clouds,—and done a hundred thingsYou have not dreamed of—wheeled and soared and swungHigh in the sunlit silence. Hov'ring there,I've chased the shouting wind along, and flungMy eager craft through footless halls of air ....Up, up the long, delirious, burning blueI've topped the wind-swept heights with easy graceWhere never lark nor ever eagle flew—And, while with silent lifting mind I've trodThe high untrespassed sanctity of space,Put out my hand, and touched the face of God.High Flight is part of a collection of pieces by Christian Morris entitled ‘A History of Powered Flight’:1. Kitty Hawk2. Dogfight3. Afterburner4. Holding Pattern5. Queen of the Skies6. High Flight.

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.855200 Composed by Joseph Pugh. Christian,Concert,Jazz,Pop. Score and parts. 9 pages. Joseph Pugh #6440705. Published by Joseph Pugh (A0.855200). Original tune ,by Joseph Pugh arranged here for brass quintet.This original tune only had 2 verses but since  written a 3rd verse was added. Lyrics available-1st verseThank You, Lord, for all the many blessings in my life, for all the happiness you've let me have. Thank You, Lord for now I realize it took them all ,to live in You, to grow in You. Thank You, Lord2nd. verseThank You, Lord, for all the many heartaches in my life. For all the many sorrows and the strife, for through them Lord, I've learned just what it means to follow You, to live in You, to grow in You. Thank You, Lord.3rd verseThank You, Lord, for battles and the victories we've won, for all the many great things You have done, for through them Lord, I've learned just what it means to call You Lord, to live in You, to worship You.Thank You, Lord.

Piano,Violin - Level 4 - Digital Download SKU: A0.1236635 Composed by Christian Morris. Contemporary. 32 pages. Hoopla Sheet Music #832155. Published by Hoopla Sheet Music (A0.1236635). An exciting concert piece inspired by U.S. WW2 pilot, John Gillespie Magee’s iconic poem ‘High Flight.’ In the opening he describes the the magnificent and exhilarating sensation of flying. In the more contemplative second section he seems to breach the veil between earth and heaven: Oh! I have slipped the surly bonds of EarthAnd danced the skies on laughter-silvered wings;Sunward I've climbed, and joined the tumbling mirthof sun-split clouds,—and done a hundred thingsYou have not dreamed of—wheeled and soared and swungHigh in the sunlit silence. Hov'ring there,I've chased the shouting wind along, and flungMy eager craft through footless halls of air ....Up, up the long, delirious, burning blueI've topped the wind-swept heights with easy graceWhere never lark nor ever eagle flew—And, while with silent lifting mind I've trodThe high untrespassed sanctity of space,Put out my hand, and touched the face of God.High Flight is part of a collection of pieces by Christian Morris entitled ‘A History of Powered Flight’:1. Kitty Hawk2. Dogfight3. Afterburner4. Holding Pattern5. Queen of the Skies6. High Flight.

French Horn,Piano - Level 4 - Digital Download SKU: A0.1236628 Composed by Christian Morris. Contemporary. Score and part. 32 pages. Hoopla Sheet Music #832148. Published by Hoopla Sheet Music (A0.1236628). An exciting concert piece inspired by U.S. WW2 pilot, John Gillespie Magee’s iconic poem ‘High Flight.’ In the opening he describes the the magnificent and exhilarating sensation of flying. In the more contemplative second section he seems to breach the veil between earth and heaven: Oh! I have slipped the surly bonds of EarthAnd danced the skies on laughter-silvered wings;Sunward I've climbed, and joined the tumbling mirthof sun-split clouds,—and done a hundred thingsYou have not dreamed of—wheeled and soared and swungHigh in the sunlit silence. Hov'ring there,I've chased the shouting wind along, and flungMy eager craft through footless halls of air ....Up, up the long, delirious, burning blueI've topped the wind-swept heights with easy graceWhere never lark nor ever eagle flew—And, while with silent lifting mind I've trodThe high untrespassed sanctity of space,Put out my hand, and touched the face of God.High Flight is part of a collection of pieces by Christian Morris entitled ‘A History of Powered Flight’:1. Kitty Hawk2. Dogfight3. Afterburner4. Holding Pattern5. Queen of the Skies6. High Flight.

Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1362537 Composed by Kevin G. Pace (ASCAP), Kathryn W. Hales. 21st Century,Christian,Contemporary,Country,Folk. Score. 6 pages. Kevin G. Pace #946987. Published by Kevin G. Pace (A0.1362537). A fun, country-style song about good memories of mom and coming home again.  Music by Kevin G. Pace.  Text by Kathryn W. Hales.Text:The teacher said I had done a good job, And applied a bright shiny star, At the To the top of the grammar school paper, I cannot wait to show it to Ma.�The coach said that old cut was nothin at all, Though it might just leave a scar. “You've just gotta be tough, he said with voice so gruff, I know Mama's kiss can heal from a far. Chorus: I'm comin' back home to you, Mama, Though my steps have taken me so far, Oh, praise for a star and a kiss for a scar, I am comin' back home to where you are. . I've grown now, moved on or so they say, Cut those old apron strings, Though your hair is as snow, your voice so low, Your face such sweet memories bring.  Across the wide world I've traveled, The miles between us are long, But through the years, the fears, and through the tears, Your smile floats to me like a song.Chorus:Ending:When life's road gets rough And the goin' gets so tough, Home will be wherever; Wherever you are.

Instrumental Solo,Pipe Organ - Level 5 - Digital Download SKU: A0.1316991 Composed by Alex Gibson, Hans Florian Zimmer, and Ryan Romeyn Rubin. Arranged by Anna Lapwood. 21st Century,Classical,Contemporary,Film/TV. Individual part. 29 pages. Anna Lapwood #904082. Published by Anna Lapwood (A0.1316991). Over the past couple of years I have written a number of film music transcriptions on and for the organ of the Royal Albert Hall in London. While the transcriptions are written with this organ in mind, often calling for specific colours such as the bass drum, carillons or tubular bells, they are adaptable on a number of different instruments and I’ve loved tweaking them in order to play them on organs all across the world. I hope you enjoy playing them as much as I’ve enjoyed writing them! I think the Interstellar soundtrack has done more to popularise the organ than anything or anyone else! I’ve chosen three of my favourite cues from the film and put them together into a suite. It can be performed in any order, with the pieces played one after the other or scattered throughout a recital programme.  - Anna Lapwood.

Choral Choir,Choral (2-Part) - Level 1 - Digital Download SKU: A0.1043748 By The Beatles. By John Lennon and Paul McCartney. Arranged by Chris Hutchings. 20th Century,Children,Pop,Rock,Standards. 5 pages. Chris Hutchings #648427. Published by Chris Hutchings (A0.1043748). For 2-part choir a cappella. This will be most effective with bass/baritone/tenor voices on the lower part and alto/soprano voices on the upper part. Alternatives are provided for the few notes that might be out of range for a few singers. Only needs one strong singer to lead each part, so could be done by almost any choir. Ideal if you have a small group of lower voices who want a challenge, and upper voices who are most comfortable on the melody, or if you've got a very small choir and can only stretch to 2 parts. The harmony feels full and effective when done at speed, and adding some dynamic contrast will bring the piece to life.Great for a Valentine's Day concert, or for going around your school singing cheesy a cappella love songs!Ranges: soprano A3-D5 (optional F3 and F5), bass Bb2-Bb3 (optional G2).

Jazz Ensemble Jazz Ensemble - Level 2 - Digital Download SKU: A0.1273503 Composed by Tchaikovsky, Peter. Arranged by Thingvall, Jon. Film/TV,Jazz. Score and Parts. 88 pages. Jon Thingvall #865640. Published by Jon Thingvall (A0.1273503). Briar Rose was the name of an early version of Sleeping Beauty.  Here, Tchaikovsky’s famous Sleeping Beauty Waltz is perked up a little, and re-imagined for a standard junior high/early high school, jazz big band (5,4,4), and played in 4/4 time.Difficulty:  junior high to early high school band.Designed to help students learn jazz.Key:  F (original ballet key is B-flat)Highest lead trumpet note: concert E (last note), in the treble clef.There are no solos.  Exposed parts have at least two players.The rhythms swing, but are kept predictable, without too much variety.Rhythm section play-along here:  https://youtu.be/rhlifLTzHC8Additional Parts Included:                Score, transposed                Score, concert pitch                Piano/Guitar showing Bass in L.H.                Piano/Guitar only, no Bass                Piano with jazz ideas/options written out                Drum set notation                Drum set kicksheetMeasure 71 (at approx. 1:51) could serve as an Optional Ending, and the director will be able to edit the measure as desired—beef up the “& of two� if desired, and/or add horns on beat 4, etc.  If done in class, as my teachers occasionally did, it can show the students the process of arranging, and might encourage some in that direction.As a classical-turned-jazz pianist, my best memories are of those who helped me bridge the gap from verbatim part-playing to the concepts of learning jazz harmonies and its own unique form of counterpoint.  Writers' suggestions--like Sammy Nestico's, who occasionally specified voicings--were invaluable.  So, for classically-trained pianists who are interested in jazz, I’ve included a couple versions of the piano part—a fairly standard “lead sheet�, but also one with ideas for voicings, especially quartal, which the classical artist might not have considered.  Further study on YouTube and other Internet sites will help them hear and visualize the difference between jazz and classical.The Bass part gives the student the option of playing the changes, or the written notes.I’ve also included two kinds of drum parts—one with notation for those just starting out, and another “kick sheet� for those with more experience.Manuscript made with Finale v26Sounds from Finale and Garritan “JABB3� (Jazz And Big Band)MP3 courtesy of OnlineAudioConverter.com.

Electric Violin,Instrumental Solo - Level 5 - Digital Download SKU: A0.845965 By Bud Powell. By Vernon Duke. Arranged by Kyle Pudenz. 20th Century,Contemporary,Jazz,Standards. Individual part. 6 pages. ViolinVagabond Music #4967185. Published by ViolinVagabond Music (A0.845965). An advanced-level jazz arrangement of Autumn in New York for unaccompanied 7-String Electric Violin. Although this was written on a 7-string, it also translates very well on a 6-string; there are only 2 passages that require the low Bb string, and these will sound fine taken up an octave. If you want to try this on a standard violin, well... good luck with the 5-note chords!I realize we extended-range violinists are few & far between, but if you (like me) appreciate the unique ability of this instrument to cover bass substitutions, chord melodies, and other roles that were previously thought exclusive to fretted/keyed instruments, this arrangement is an excellent demonstration of some of the really cool ways that you can bring a melody to life without the need for any effects or accompaniment. It is not for the faint of heart, and will definitely take some practicing, but if you can tackle the harmony this is a chart that is guaranteed to impress any jazz-nerd in the room... or your money back!*A challenging, yet elegant take on one of my favorite jazz ballads, this arrangement is great for showing off your jazz chops as a soloist, but can also work great as background music at one of those weddings or cocktail parties where someone decided it would be a hip idea to have an electric violinist... by themself...without any suggestions on repertoire (don't lie, we've all done at least one of these). Frets are optional, but not necessary ;-) I've been playing this for 6 years without... Performance time: 5 minutes, 30 secondsAlternatively you can skip one of the choruses to get it under 4 minutesQuestions? Suggestions? Requests? Contact me via my website: www.kylepudenz.com/Together, we can slowly fill the conspicuous void of printed music for electric violin!*You're not actually getting your money back. I stand by my comment about impressing the jazzers, though.

C Instrument - Level 4 - Digital Download SKU: A0.546075 Composed by Isabelle Wakkinen. Arranged by arr. by John Fries. 20th Century,Country,Jazz,Pop,Standards. Lead Sheet / Fake Book. 1 pages. John Fries #156183. Published by John Fries (A0.546075). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer.  The song has been a crossover hit, charting in both the country and western and pop categories. Always On My Mind did not see completion until late 1971. Songwriter-guitarist Wayne Carson had about two verses done, with the working title You Were Always On My Mind. He had been occupied in Memphis on a project that required him to stay ten days longer, and he phoned his wife in Springfield, Missouri, to apologize for the delay. She was angry, and he replied: Well, I know I’ve been gone a lot, but I’ve been thinking about you all the time. His words struck him as potential song material, and he quickly ended the call so he could capture the idea on paper.

Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.896716 Composed by Hannah Baldoz. Contemporary. Score. 3 pages. Hannah Baldoz #5869351. Published by Hannah Baldoz (A0.896716). Someday - An original composition with music and lyrics by Hannah Baldoz.Someday we will find what we are looking for. Or maybe not. Maybe we will find something much greater than that. ––AnonymousLyrics:I see your painI know how you feelYou have been hurtYour scars are realI know you’re brokenBut darling don’t you cryYou’ll find the wings to flySomeday you’ll findThe love that you’ve longed forSomeday you’ll beWhat you’ve dreamed and moreSo until thenJustKeep believingYou can be freeBecauseThough you’re in painYour life is not doneAfter the rainThere will be sunI know you may feelAfraid and lost tonightBut morning brings new light© 2018 by Hannah Baldoz. All rights reserved.For more music by Hannah Baldoz visit https://www.youtube.com/channel/UCNhkUVEv4QBCytIbBIPG6xg

Small Ensemble - Level 4 - Digital Download SKU: A0.781826 Composed by Javin Tham. Contemporary,World. Score and parts. 10 pages. Javin Tham #3601911. Published by Javin Tham (A0.781826). ��里路 Qian Wan Li Lu (A Thousand Miles Journey)作曲：譚凱�（二胡與鋼�）人自生來，便有無窮無盡的�路�走，好比那一�里�一�里的路。因爲在人憂傷�絕望�失��憤怒的時候，會有著絲絲的感觸, 此曲以悲憤的調�來敘述人的一生。��之路人在一生中，都逃��了充滿�棘的�路，無論如何都得��。所以�個人的人生都難�有淚水。是悲哀的，也是感動的。狂奔在氣�最旺盛的那一刻，人生出�了無數次的高峯和深谷。緊張的�����的變化，顯示了那一刻的起起��。路�知馬力�怎麼�，也會累。歇�之時，�感�到自己走了多�。�時，憶想起�去留下的�憾。�走高飛�路走完了嗎？忽然間，沉�的腳步變輕了，彷彿已到了�一個地方。A piece for erhu and piano. The music depicts the sadness and sorrows of one's life journey. This approximately 6-minute long piece comprises of 4 sections:Bumpy Roadit's unavoidable to be carrying on with a life journey full of thorns, we'll have to face it anyway. Therefore, tears are inevitable in everyone's life. It may be sadness, or a kind of sensation moving.BoltedAt the moment when the breath is the most vigorous, life has seen numerous peaks and deep valleys. The tension and dynamic from the piano depict the ups and downs of those moments.Proof of the PuddingNear or far, we will be tired one day. As we rest, we realize how far we've gone. At the same time, we recall the regrets left in the past.EmigratedAre we done with the journey? The heavy footsteps became lighter all of a sudden, as if we've arrived at another realm.

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.921036 Composed by Manuel de Falla. Arranged by Michael Drennan. 20th Century,Halloween. Score and parts. 50 pages. Drennan Music Publications #6332813. Published by Drennan Music Publications (A0.921036). I arranged this piece in 2010 for my senior recital at Ithaca College. It comes from the ballet El Amor Brujo by Manuel de Falla, and has been one of my favorite arrangements that I’ve ever done. The trumpets are split between C Trumpet and B-flat Trumpet, and there is a Bass Trombone part instead of a Tuba part that would normally occur when combining two Brass Quintets together. When it was originally performed (see the video below) I gave the percussionist the score and let her have at it since I had no idea how to write for percussion at the time. Since then I’ve learned that skill and added two percussion parts to the piece. The first one splits Snare Drum and Bass Drum between two people, and the other has Crash Cymbals and Castanets, which can be played by one person. I view these percussion parts as optional, but they are fun and add quite a bit to the piece.

Jazz Ensemble Jazz Ensemble - Level 5 - Digital Download SKU: A0.1129024 Composed by Benny Carter. Arranged by Peter Stöve. 20th Century,Jazz. Score and parts. 76 pages. Peter Stove #729548. Published by Peter Stove (A0.1129024). Peter Stöve ‘What If Benny Goodman…’ series, Vol. 1! (A take-off on events that could have happened with the Benny Goodman Orchestra’s book of arrangements if things in jazz history had taken another turn). What if Benny Carter had not sailed for Europe in 1935 to become staff arranger with the BBC, but instead had helped out Benny Goodman with providing scores for his ‘Let’s Dance’ program? And suppose Carter had done the same trick that Fletcher Henderson pulled later on, e.g. adapting already existing scores of his own band for the Benny Goodman Orchestra? Carter’s ‘Symphony In Riffs’ is presented here as a piece that could have been a cornerstone of the Goodman band library. The sax soli written by Carter is there, but the clarinet dominates the second strain in a Glenn Miller-styled section, and of course later with an extended solo. Other soloists include trb 1, piano, tpt 2 and ts 1. The two different strains are juxtaposed to each other, to make for a maximum of variety. Scored for the line-up of the Benny Goodman Orchestra of 1935: solo clt/2 as/2 ts/3 tpt/2 trb/rhy. Tpt 1 to Eb3. Difficult for multiple reasons: • The clarinet soloist must be a first-class ‘BG-wannabe’. Fluent soloist, comfortable in the upper register. • Strong lead-alto required, with an old-skool ‘singing’ tone. • Lead trumpet must be able to ‘carry off’ the final section from bar 197 onwards. • Driving rhythm section needed; swinging (preferably acoustic) rhythm guitarist and a bassist who doesn’t shy away from playing compelling bass-lines. If your band meets these requirements: have fun!

Jazz Ensemble Jazz Ensemble - Level 5 - Digital Download SKU: A0.1130066 By Fletcher Henderson And His Orchestra. By Clarence Williams. Arranged by Peter Stöve. 20th Century,Jazz. Score and parts. 84 pages. Peter Stove #730446. Published by Peter Stove (A0.1130066). Peter Stöve ‘What If Benny Goodman…’ series, Vol. 3! (A take-off on events that could have happened with the Benny Goodman Orchestra’s book of arrangements if things in jazz history had taken another turn). As jazz history books like Gunther Schuller’s tell us, Benny Goodman’s rendition of Jelly Roll Morton’s ‘King Porter Stomp’ in the arrangement of Fletcher Henderson ‘ushered in the Swing Era’. That this tune already had a long and venerable career was obvious to every jazz lover: starting with Morton’s own recording from 1923, it was revived on a regular basis by Fletcher Henderson for his orchestras of the ‘twenties and ‘thirties. He then adapted the tune for the Benny Goodman Orchestra, which made it a hit in 1935. And from that moment on, the tune stayed popular: in 1975 it was recorded by the Gil Evans Orchestra for the album ‘There Comes A Time’. But during the ‘twenties, Henderson picked up more ‘jazz and stomp’-tunes (as opposed to the Tin Pan Alley/Broadway fare) and had them arranged for his orchestra. One such example is a tune credited to pianist/bandleader/businessman Clarence Williams (although other sources state that it was actually written by Joseph Joe Jordan, one of the early ragtime ‘professors’). That is the composition ‘Hop Off’, a very swinging, hard-driving multi-strain tune. Henderson recorded it in 1927. However, unlike ‘King Porter Stomp’, Henderson never chose to ‘adapt’ this tune for his ‘thirties swing-style orchestra, and so it never became a part of the Goodman Orchestra’s band book. What if Henderson had done so, and in 1935 had handed over the tune to Goodman as an addition for his ‘Let’s Dance’-library? ‘Hop Off’ is presented here as a piece that could have been a cornerstone of the Goodman band library. Based on the 1927 Henderson arrangement, it juxtaposes the two main strains of the original composition for maximum variety. Plenty of breaks, stoptime-sections and other ‘hot’ stuff. Scored for the line-up of the Benny Goodman Orchestra of 1935: solo clt/2 as/2 ts/3 tpt/2 trb/rhy. Tpt 1 to Eb3. Solo’s for clarinet, tenor sax 1, tpt 2, trb 1 and a brief four-bar spot for the drummer at the end. If your band is able to play ‘King Porter Stomp’, this tune should cause no problems. The only exception is the presence of a solo clt part. The clarinet soloist must be a first-class ‘BG-wannabe’: fluent soloist, comfortable in the upper register. Must be able to be heard over a shouting ensemble chorus. If your band has such a player: have fun!