Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.1472109 By The Beatles. By John Lennon and Paul McCartney. Arranged by Mike Dana. Jazz,Latin,Pop. 66 pages. Mike Dana Music #1049808. Published by Mike Dana Music (A0.1472109). About the piece: Welcome to the second chart I’ve done on a Beatles tune! I guess, because the first one (Can’t Buy Me Love) went so well, I had to keep it going ? (shameless plug alert: CBML is available from both sheetmusicdirect.com and sheetmusicplus.com.) And I Love Her is a great tune, and I tried to find some creative ways to expand on that. It features your most lyrical flugel player, and you’ll need woodwind doubles: 2 flutes, 2 clarinets, and bass clarinet.  Ensemble: This is pretty straightforward: even 8th, bossa-ish vibe. Trumpets 1, 3, and 4 are on flugels full-time, except for the harmon trumpet bit in mm. 70-75. I feel the 5/4 bars as 2+3, and would conduct accordingly. Overall, think mellow, understated, warm/fuzzy on this.  Rhythm Section: I really hear nylon string guitar on this, so please ask your guitarist to bring the extra axe. ?  Piano, guitar, and bass: If there’s a notated paty without chord symbols, please play as written. If it’s chord symbols only, play/comp tastefully, as always. If there are both, you can do either. If the written part supports the ensemble, I’d suggest going that route. I LOVE having guitar and vibes in the rhythm section, but in general I’m not a big fan of having them play off of the same part. So, please observe the “play only if no guitar (or vibes etc.) indications. Drums, I’ve indicated some basic grooves (note the feel change in the bridge) but I trust you. Just keep things tasty and understated. Solo Section: Flugel solo…after the first read-through, you’ll know when it’s just you on the melody, and when your part is doubled. Feel free to play more expressively on the former. There are some short snippets of changes mixed in with the melodic statements; think of these more like fills than the official “solo section” which is mm. 50-80, the AAB of the form. Don’t swing for the fences in spots like mm. 44-48; instead, float on top of the ensemble sound. And, keep things simple from n. 91 out. ? As of this writing, I don’t have a recording of this, other than the MIDI demo. If you end up with a nice recording and would be OK sharing that with me, please reach out!

Choral Choir (2-Part) - Level 2 - Digital Download SKU: A0.817348 Composed by Benj Pasek, Justin Paul, and Ryan Lewis. Arranged by Vicky Jacobs. Contemporary,Film/TV,Pop. Octavo. 3 pages. Victoria Jacobs #6099383. Published by Victoria Jacobs (A0.817348). This is part of a series of singalong arrangements I've done that are designed to be fun to sing, quick to learn and save on photocopying. You'll notice with this song that I've left out the second verse - it's just too wordy! This arrangement would also work really well in a zoom singing session.

Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.583748 Composed by Jeff Tincher. Arranged by Jeff Tincher. Christian,Country,Praise & Worship,Sacred. Octavo. 12 pages. Jeff Tincher #4767543. Published by Jeff Tincher (A0.583748). This is a lively compilation of 4 public domain hymns (Since Jesus Came Into My Heart: McDaniel/Gabriel, We'll Understand It Better By And By: Tindley, In The Sweet By And By: Bennett/Webster, and When We All Get To Heaven: Hewett/Wilson). I've added some different chord progressions and a key change to make it a really fun piece. I've done this arrangement several times at our church with rave reviews from the congregation. Duration = 4:59. Visit my websites: https://jefftincher.wixsite.com/sheetmusic, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing.

Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1404284 By Deborah Johnson. By Deborah Johnson. Broadway,Comedy,Contemporary,Jazz,Musical/Show,Singer/Songwriter. Score. 15 pages. Deborah Johnson #987387. Published by Deborah Johnson (A0.1404284). Deborah Johnson's Superwoman is a vibrant tribute to the incredible strength of women worldwide. This upbeat and energetic song celebrates the everyday feats of ordinary yet extraordinary women. Drawing from her own experiences, Deborah navigates the complexities of managing a household, navigating career changes, raising three children, maintaining a marriage, and all the challenges life throws her way. Through Superwoman, Deborah captures the resilience and determination required to juggle multiple roles and responsibilities, resonating with listeners who understand the struggle of holding everything together. Purchase the single MP3 here: https://amzn.to/3PvNCHK The accompaniment MP3 track is also available for download Note from Deborah: Are you embracing your inner superheroine? I get it—navigating life's hurdles while donning our invisible capes can feel like a whirlwind circus act. To claim the title of Superwoman, you've got to juggle the whole shebang: home life, career acrobatics, kid wrangling, spouse wrangling (or partner wrangling, let's keep it inclusive), and just the general chaos of existence. It's the kind of balancing act that'd make a Cirque du Soleil performer jealous! Speaking from the trenches myself, I've done my fair share of plate-spinning: managing a household, enduring the rollercoaster ride of a career (complete with loop-de-loops), wrangling three sons who seem to have synchronized their mischief, keeping a marriage afloat through the stormy seas and dealing with the curveballs life tosses our way. And let's not forget society's laundry list of expectations: staying fit, maintaining a Pinterest-worthy home, being the rock for our loved ones... and that's not even touching on the culinary escapades! And let's raise a toast to the single moms out there, pulling off the ultimate juggling act—balancing multiple jobs, raising the next generation of superheroes, and keeping the household shipshape. They're the Superwomen on turbocharged overdrive! It's no wonder that the song Superwoman resonates with us—it's our anthem, our battle cry, and our reminder that we're all superheroes in our own right! Written, arranged and performed by Deborah Johnson. DEBORAH JOHNSON, is a National Recording Artist, Composer, Speaker and published Author. She has recorded dozens of albums, written 3 original musicals and has appeared on many stages around the country and world. She also appeared with the headliner piano/vocal duo Double Grande. Her internationally released bookshave garnered great reviews (on Amazon & Barnes & Noble) Deborah’s songs have also been up for multiple Grammy Awards. Music and Lyrics by Deborah Johnson. Basic production and piano tracking by Deborah. Backgrounds by Deborah and David Johnson. Additional production, guitars and bass by Michael Ferenci. Recorded at Ferenci Studios, Silverlake, CA. https://DJWorksMusic.com For more information about Deborah, her albums, books and products, visit https://DJWorksMusic.com, https://goalsforyourlife.com/ or https://DeborahJohnsonSpeaker.com YouTube Link https://youtu.be/YUOvivxjlsw?si=AGohZrZl1ErdkQTD 

Choral Choir,Choral (SATB) - Digital Download SKU: A0.1295477 Composed by Isaac Cohen. 21st Century,A Cappella,Classical,Contemporary,Jewish. 15 pages. Isaac Cohen Music #885765. Published by Isaac Cohen Music (A0.1295477). I wrote Oseh Shalom, wanting to connect my Jewish heritage to my own contemporary classical style of writing. While not very religious, I've always loved Jewish music. To that end, I sought out to write something that wasn't an arrangement of an already existing tune but wasn't also a more obscure prayer that only the more religious people would know, both of which I've done before. In addition, I wanted to write something oriented more toward a concert rather than a religious setting.Oseh Shalom comes from the last part of the Mourner's Kaddish, a longer prayer recited in memory of the dead. It is not only said in sadness, however. Many settings of the prayer, including Debbie Friedman's and Nurit Hirsh's, which are the settings I grew up singing, are very festive. As such, when Oseh Shalom, I tried to encapsulate mournful and festive feelings and give it a more classical touch.Questions? Feel free to reach out to me at isaacwilliamcohen23@gmail.com.

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1103339 By Dion and The Belmonts. By Lorenz Hart and Richard Rodgers. Arranged by David Lee Gingras and John E. Dosher. Broadway,Jazz,Musical/Show. Score. 3 pages. DAVID LEE GINGRAS #706600. Published by DAVID LEE GINGRAS (A0.1103339). Where or When is a show tune from the 1937 Rodgers and Hart musical Babes in Arms. It was first performed by Ray Heatherton and Mitzi Green. That same year, Hal Kemp recorded a popular version. The song also appeared in the film version of Babes in Arms two years later. This version features a root-based chord blocking that John and I have used in many of our arrangements and we've included a few left-hand fills to keep the tempo going! We hope you like what we've done with the song!

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1045476 Composed by James Van Heusen and Johnny Burke. Arranged by David Lee Gingras and John E. Dosher. Broadway,Jazz,Musical/Show. Score. 2 pages. DAVID LEE GINGRAS #650059. Published by DAVID LEE GINGRAS (A0.1045476). Moonlight Becomes You is a popular song composed by Jimmy Van Heusen with lyrics by Johnny Burke. The song was written for the Paramount Pictures release Road to Morocco (1942) and published in 1942 in connection with the film. Vic Schoen (staff arranger for Paramount) wrote the arrangement. Our version makes use of a root-based chord blocking that we've implemented in a number of our arrangements - we hope you like what we've done with the song!

Piano Solo - Level 5 - Digital Download SKU: A0.873046 Composed by Sally Whitwell. Contemporary. Score. 11 pages. Sally Whitwell #6119391. Published by Sally Whitwell (A0.873046). A Week in November… and what a week it was! It was the week of the US Presidential Election 2020. As I write these words, the absurdist tantrums of the Trump-Pence campaign versus the reasoned compassion of team Biden-Harris continues even well after the results have been called in the Democrats’ favour. There will not be the usual respectful concession speech and transition of power. I worry every day about how these next few months will be so very difficult, maybe even dangerous, for my American friends. Those convoys of flag waving Trumpists gleefully, openly, encouraged by their ‘leader’, attempting to block the democratic process was horrifying to witness. Was America on the brink of civil war? It still doesn’t seem far fetched to think that as I sit in my studio on the other side of the world, feeling helpless. The only thing I felt that I could do for my friends over there was to offer them a way to feel safe and loved in the moment, a bit of musical mindfulness.  It was in this spirit that I wrote the second movement of this work, subtitled A Pocket Full of Calm. My excellent pianist friends Erica Sipes (USA) and Sandra Mogensen (Canada) adopted my little tune, recorded it on their social media to share said moment in the moment as it were. I hope it helped. I mean, if I can bring to even just one person some sense of calm solidarity, I’m happy with that. The fifth movement in the set, Victorious, resolute, but gracious, was a stream-of-consciousness creative response to the Biden Harris victory and the way they handled it so eloquently, so humbly, how they gave the world a sense of optimism once more. For a long while, I’d felt that I probably wouldn’t be welcome in America. As a mixed race, queer woman I was the antithesis of everything they valued. But now, people like me over there can feel human again. The relief! As for the other days of that week in November, they are part of a continuing series of daily composition exercises I started back in October in an effort to end a lengthy period of pandemic-induced creative block. Using a combination of exercises from Music Composition Toolbox (Barbeler/Blom/Hindson) and Brian Eno’s Oblique Strategies I’ve been able to find my creativity again. Starting a composition ‘habit’ is the best thing I’ve done for my writing all year and is how I mean to continue for a long time. Sally Whitwell12 November 2020 

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1488127 By Natalie Cole. By Lorenz Hart and Richard Rodgers. Arranged by Dave Gingras and John E. Dosher. Broadway,Film/TV,Jazz,Musical/Show. Score. 2 pages. DAVID LEE GINGRAS #1065006. Published by DAVID LEE GINGRAS (A0.1488127). This Can't Be Love is a show tune and a popular song from the 1938 Rodgers and Hart musical The Boys from Syracuse when it was sung by Eddie Albert and Marcy Westcott. The lyrics poke fun at the common depiction of love in popular songs as a host of malignant symptoms, saying, This can't be love because I feel so well. This version was developed from a lead sheet and was simplified so that someone with average ability can play it and sound good doing so. We added root-based chord blocking and a few left-hand fills for rhythm - we hope you like what we've done with this grand old tune!

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.794146 Composed by Richard Rodgers. Arranged by Dave Gingras, John E. Dosher. Contemporary. Score. 3 pages. DAVID LEE GINGRAS #6686795. Published by DAVID LEE GINGRAS (A0.794146). It Might as Well Be Spring is a song from the 1945 film State Fair, which features the only original film score by the songwriting team of Richard Rodgers and Oscar Hammerstein II. It Might as Well Be Spring won the Academy Award for Best Original Song for that year. This version features a root-based chord-blocking that John and I have used in a number of our arrangements. We added a couple of left-hand fills to keep the rhythm going - we hope you like what we've done with this classic ballad!

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1230362 Composed by Bing Crosby, Ned Washington, and Victor Young. Arranged by Dave Gingras and John E. Dosher. Broadway,Jazz,Musical/Show. Score. 2 pages. DAVID LEE GINGRAS #826074. Published by DAVID LEE GINGRAS (A0.1230362). I Don't Stand a Ghost of a Chance With You is a 1932 song recorded by Bing Crosby with Orchestral Accompaniment. The music was composed by Victor Young, with lyrics written by Ned Washington and Bing Crosby. The song is a jazz and pop standard recorded by many different artists. This version features a root-based chord blocking that John and I have used in a number of our arrangements. We also added some pretty cool left-hand fills for your listening (playing?) pleasure - we hope you like what we've done with beautiful 1932 ballad!

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1081208 By Wynton Marsalis. By Lorenz Hart and Richard Rodgers. Arranged by David Lee Gingras and John E. Dosher. Broadway,Jazz,Musical/Show. Score. 2 pages. DAVID LEE GINGRAS #685342. Published by DAVID LEE GINGRAS (A0.1081208). It's Easy to Remember (And So Hard to Forget) is a popular song written by Richard Rodgers with lyrics by Lorenz Hart, published in 1935 and written for the 1935 film Mississippi starring Bing Crosby and W.C. Fields. Crosby introduced the song in the film and his recording for Decca Records made on February 21, 1935. The song is now considered a standard, with many recordings having been made by many artists. This version features a root-based chord blocking that John and I have used in a number of our arrangements. We also added a smooth left-hand bassline to keep things moving! We hope you like what we've done with this great tune!

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1153905 By The Carpenters. By Frank Pooler and Richard Carpenter. Arranged by Dave Gingras and John E. Dosher. Christmas. Score. 3 pages. DAVID LEE GINGRAS #754172. Published by DAVID LEE GINGRAS (A0.1153905). Merry Christmas, Darling is a Christmas song by the Carpenters (music by Richard Carpenter, lyrics by Frank Pooler), and originally recorded in 1970. It was first available on a 7-inch single that year (A&M Records 1236), and was later re-issued in 1974 (A&M 1648) and again in 1977 (A&M 1991). The single went to number one on Billboard's Christmas singles chart in 1970 (and did so again in 1971 and 1973) and peaked at number 41 in Cashbox. This version features a root-based chord blocking that John and I have used in a number of our arrangements. For interest and to keep the rhythm moving, we added some pretty cool left-hand fills. We hope you like what we've done with the song!