SKU: A0.899136

For solo classical guitar; 4 pp; first part of 2nd movement of the Lyric Suite

Alban Berg 1885 -1935

Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935.

Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion.

The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality.  

As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way.

Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.

SKU: A0.874150

6 part a cappella choral anthem. This is a 6 part round, with additional vocal parts. The text and tune to, Lord, Give Us Wisdom were written in August of 2017, while grieving the evil, hatred, violence and tragedy of the clashes in Charlottesville, Virginia. It was a prayer that nothing like that would ever happen again. Text below:

Lord, give us wisdom to love one another,

See in each person the image of You,

Grieve at our foolishness, pray for Your peace,

Seek what is righteous seek what is true.

Keep us faithful.

Mercy, mercy, mercy on us all,

Lord.

SKU: A0.1119079

The 3rd and final movement to Blaze Scheuerman's A Journey Through Time Piano Sonata, A Struggle For The Future follows a conflict between two separate themes for control. Set in Rondo form, this piece tells an accurate depiction of a common day to day experience. We all in a way start off usually feeling fine like how the melody in the A Theme sounds, but then through the journey of the day meet some other conflict or competition that clashes with our calmness and causes an ensuing struggle. This piece was inspired by Beethoven’s Piano Sonatas, primarily Sonata in C Minor No. 8 “Pathetique�.

SKU: A0.1032612

Highly energetic, driving, dance song hit by the British rock band The Clash, from their 1982 album, Combat Rock. A chart-topping (Billboard Top 100) anthem that demands attention and provides irrepressible joy to performers and audiences alike. The original video of the song was shot in Austin, Texas.

The song structure remains, of course, the same throughout the arrangement. Both, clarinet and horn, participate in carrying Joe Strummer's unique, repetitive tune; the horn also has a prominent part in the chorus sections and often provides an insidious counter-melody. The bassoon plays the driving bass part. The flute and oboe mirror the guitar parts through accented, staccato harmony, throughout; at times, their flurries also evoke the guitar licks and sound effects.

The arrangement is appropriate to play in concerts at schools, conservatories, community centers, and museums by Intermediate-to-Advanced ensembles. The duration of the arrangement is about 3:45.

SKU: A0.1361865

Includes: Digital .pdf w/Full Score and Parts

Clashing Destinies was originally a work for digital media composed in March-April of 2023, later adapted for Full Orchestra/Symphonic Wind Ensemble. Clashing Destinies takes the listener through a spiral into insanity, starting with the constant thudding of the lows. Even as different parts add on, the thudding persists, representing one's inability to think clearly. There is a sharp dissonant line initially played by the glockenspiel that comes up time and time again, representing the internal panic that cuts through one's rational thoughts during their spiral into madness. Finally we hit the breaking point, a moment of silence followed by the screams of pain one experiences after reaching their breaking point. Soon after, a screaming trumpet takes the spotlight, any form of rational thought has now dithered away. Nothing is left but screams. After an intense battle of struggling to find a grasp on reality, there is a moment of calm. Things slow down as it is believed sanity is being regained, but still, there is that persistent thudding and sharp dissonance. Alas, the realization occurs, it is impossible to regain sanity. As the brass section overtakes the calm of the woodwinds, insanity fully takes over. The homestretch of this piece is pure chaos, every motif comes back. It is one huge reprise of all the feelings that have been experienced, except now they are all sounding much more rapidly, all just a small part of the chaos that is ensuing. Now there is nothing left to do except yell for help. There are three final screams, three final pleads for help. After screaming for help, it is realized... No one is there. Now there is nothing, left unresolved, all alone in the silence.

SKU: A0.1047465

Three Pieces for Beginner Guitarists (Acoustic or Electric) by Dan Jones Presented in notes, TAB and easy chords (www.danjonesguitarist.com) As an active guitar teacher, I find that many beginner pupils want to learn either acoustic (steel string) guitar or electric guitar. I have also found a lack of quality resources in these styles which have musical interest, and which lay out some of the necessary technical and musical foundations for future learning. I composed these three little pieces for my own young students. They are played by those using their right-hand fingers, and a plectrum and I’ve found them to be very popular in both lessons and performance. The pieces can be learnt in any order (I have a slight preference for starting my pupils with D-Day Rock - the third in the collection). Below is an outline of the pedagogy behind them (1) Sore Finger Blues This is a simple twelve-bar blues which uses a combination of open strings and notes at the third and second frets. It can be played with a straight or swung rhythm. It is effective at a slow tempo for those needing time to place the fretting hand fingers. The main technical challenge is in bars 10 and 22 where the player moves the third finger between the G and A on string 1. Although this is traditionally an advanced technique, I’ve found my students find it comfortable, as long as the fingering outlined in the notes is followed. The chords are dominant (with major thirds). These clash against the minor pentatonic scale in a way which is typical of the style. The chords are quite simple for beginners. I have opted for a D5 power-chord in bars 9 & 21 which is easier than the usual D chord (which also works perfectly well). Plectrum players should be sure to anchor the plucking hand, either with the side of the hand resting on the bridge, or a finger against the scratch plate of the guitar. Fingerstyle players can anchor either with a finger touching the scratch plate of the guitar, or by resting the thumb on a bass string when the fingers are plucking, or vice versa. This is more typical of classical style. (2) Cross-String Traffic This piece was conceived as a fingerstyle piece, although it can be played using a plectrum. The challenge for plectrum players is to cross the strings smoothly. It is for this reason that the fretting hand is relatively simple so that learners can concentrate on the plucking hand. Players are also encouraged to press down the index finger on string 2 at the correct angle to allow the first string to resonate. Chords have once again been chosen to suit less-experienced fingers; therefore, I have opted for Dm6 instead of the more common Dm (a very tricky chord for beginners). Players should go for maximum resonance and notes played at fret 3 could be fretted with either fingers 3 or 4. (3) D-Day Rock This piece is made nearly entirely of open strings and third fret notes. Where there is string crossing, the music allows the player ‘thinking time’ to change accordingly. Teachers and learners can decide with which finger to press the third fret notes. The rhythmic complexities from bar 13 to the end pose no problems once players have the sound of the piece in their ear. Once again, chords have been selected for ease of playing. The Gm/D chord can be played with a 3-string barre (often quite easy for beginners where no fretted bass note is required) or using three separate fingers. The pedal D sounds effective musically. I have presented these pieces as ensemble works with large groups of beginners. Players and audiences alike have been very receptive! For a wealth of music for beginners, ensembles and advanced players, please visit www.danjonesguitarist.com. A YouTube link to a film of the pieces will be uploaded before the end of June 2022.

SKU: A0.1366941

I Fought The Law arranged for String Quartet: Full score and parts; Violin I, Violin II, Viola and Violoncello. This punk rock song sounds very beautiful in the context of a string quartet with authentic guitar and bass riffs in a refreshing orcestration. Suitable for casual, educational or professional level performance. The fast tempo may offer a challenge to a less experienced group, but will yield considerable excitement with adequate rehearsal.

SKU: A0.983162

The Privateers is a swashbuckling depiction of an oceangoing pirate adventure, presented in the form of a march.  The piece starts with a brief fanfare, followed immediately by a rousing melody in the style of an old sea-shanty.  Images of sailing upon an endless sea of stars come to mind as a tranquil nocturne is presented, but the peace is shattered as cutlasses and sabers clash in a dogfight sure to end in Davy Jones’ locker!  The music swells to a dramatic conclusion as our mighty galleon surges across a stormy sea.

Instrumentation

The Privateers comes with full sets of both concert/stage and marching/field parts, allowing for great flexibility in your performance venues. Contemporary marching bands and drum & bugle corps utilize specialized field percussion which is typically not used in a concert setting.  With this piece, the use of outdoor percussion (quad toms and a tonal bass drum line) onstage is encouraged, although not required.  A single bass drum line is included which may be used instead of (or in addition to) the tonal bass drum line, and the Quad Toms part may be omitted. 

A piano part is included, primarily for optional use indoors as a color instrument for the ensemble.  However, smaller bands in particular may find it useful for filling out the accompaniment line if instrumentation is limited.  Optionally, a very small ensemble of melodic instruments could be used, with the piano acting as a full-fledged accompaniment.

Several optional parts are included, such as Eb and Bb Horn, for ensembles with limited instrumentation.  Also, the two Low Winds parts should be distributed equally across trombone, baritone/euphonium, and tenor sax players.

Double reed parts are not included.  Double these instruments on appropriate parts to suit the needs of your ensemble.

Teaching Points

Meter – The alternation of 6/8 and 4/4 with a constant pulse (rather than a constant 8th note) provides an excellent opportunity to teach your students to shift the subdivision of the beat from triple to duple and back again.

Chromaticism & Accidentals – There is a recurring passage which features the prominent use of secondary dominants, or circle of fifths chord motion.  Students can learn a few less-than-common accidentals and enharmonics, while also getting a larger lesson in music theory.

SKU: A0.1025077

Over the past few years I have become obsessed with Norse Mythology, and I mean real Norse Mythology. I say that with
quotes because in my research I realized that a lot of people tell different stories. This is mainly because back when Christianity was growing,
the Christians saw anything that wasn't Christian as pagan, so they got rid of it all. So that is why Greek, Roman, and Norse religions faded into mythologies, and 
all that was left was passed around in folk tales. And also because Marvel tells a very different tale of the mythology than the research I have collected and I want people to know these stories. 

Now moving passed the history lesson and into the music. This is interesting for me because this is the biggest original piece
 that I've ever made. This is going to be a multimovement piece, and this is the 1st movement, Ginnungagap, the endless void. 
This movement describes The Void, and the two lands of Fire(Muspelheim) and Ice(Niflhiem).

Starting with The Void, it describes the blackness, and I use the absence of instruments to give this feeling, but however to give
2 of the other themes to foreshadow it.  It moves into this wild cascading theme for the Niflheim theme to describe the cold cascading environment of the world.

After that it slows into a dark and ominous theme for Muspelheim(Surtr's Destiny). This was an interesting part to make 
because in mythology, Surtr, also referred to as Surt,  is the fabled fire giant who destroys Asgard. No one knows where he
comes from, but from the moment of his creation, he knew of his destiny to destroy Asgard so he spent all of his time 
forging his sword to burrow into Asgard.  I used a break drum to symbolize a hammer hitting an anvil to forge a sword,
a lingering sound of Surtr's destiny.

After this, I brought both themes together to resemble The Clash of the two worlds to create the Norse universe.

The final theme in this first movement is entitled I am Ymir. In myhtology, Ymir is the father of everything. Created from the 
clash, he gave creation to all the gods, humans, giants, elves, and dwarves. This final theme takes Surtr's theme and flips
it to be mo.