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You've selected:
Trying Hard
Sheetmusic to print
89 sheet music found
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Hard To Say I'm Sorry
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Choral 3-part
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INTERMEDIATE
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Contemporary
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Az Yet featuring Peter Cetera
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Sandra Milliken
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Hard To Say I'm Sorry
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Sandra Milliken
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SheetMusicPlus
Choral Choir (SSA) - Level 3 - Digital Download SKU: A0.774766 By Az Yet featuring Peter Cetera. By David Babyface Foster and Peter Cetera. Arranged by S...
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Choral Choir (SSA) - Level 3 - Digital Download SKU: A0.774766 By Az Yet featuring Peter Cetera. By David Babyface Foster and Peter Cetera. Arranged by Sandra Milliken. Contemporary. Octavo. 11 pages. Sandra Milliken #5998067. Published by Sandra Milliken (A0.774766). Hard to Say I’m Sorry is a No. 1 song by the American rock band Chicago. It was released in May 1982, as the lead single for the album Chicago 16. The song reached No. 1 on the Billboard Hot 100 Chart in September of that year, where it remained for two weeks. It was the group’s second No. 1 single (their first was If You Leave Me Now) and their first top 50 hit since Tell No Lover in 1978. It spent twelve weeks in the top 5 of the Billboard Chart.Written by Peter Cetera (Chicago’s bassist, who also sang lead vocals) and the group’s producer David Foster (who played piano on the track), the song is about a person trying desperately to hold on to a relationship that has fizzled out, promising to make up for his/her indiscretions and playing the we’ve been through so much card.Hard to Say I’m Sorry was nominated for a Grammy Award for Best Pop Performance by a Duo or Group with Vocal and was certified Gold by the Recording Industry Association of America in September 1982. Peter Cetera won an ASCAP Pop Music Award for the song in the category, Most Performed Songs.Two arrangements of Hard to Say I’m Sorry are available for immediate download: one for SATB choir and one for SSA voicing, both with piano accompaniment.
$2.20
Hard To Say I'm Sorry
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Choral SATB
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INTERMEDIATE
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Contemporary
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Az Yet featuring Peter Cetera
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Sandra Milliken
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Hard To Say I'm Sorry
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Sandra Milliken
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.774767 By Az Yet featuring Peter Cetera. By David Babyface Foster and Peter Cetera. Arranged by ...
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.774767 By Az Yet featuring Peter Cetera. By David Babyface Foster and Peter Cetera. Arranged by Sandra Milliken. Contemporary. Octavo. 11 pages. Sandra Milliken #5998069. Published by Sandra Milliken (A0.774767). Hard to Say I’m Sorry is a No. 1 song by the American rock band Chicago. It was released in May 1982, as the lead single for the album Chicago 16. The song reached No. 1 on the Billboard Hot 100 Chart in September of that year, where it remained for two weeks. It was the group’s second No. 1 single (their first was If You Leave Me Now) and their first top 50 hit since Tell No Lover in 1978. It spent twelve weeks in the top 5 of the Billboard Chart.Written by Peter Cetera (Chicago’s bassist, who also sang lead vocals) and the group’s producer David Foster (who played piano on the track), the song is about a person trying desperately to hold on to a relationship that has fizzled out, promising to make up for his/her indiscretions and playing the we’ve been through so much card.Hard to Say I’m Sorry was nominated for a Grammy Award for Best Pop Performance by a Duo or Group with Vocal and was certified Gold by the Recording Industry Association of America in September 1982. Peter Cetera won an ASCAP Pop Music Award for the song in the category, Most Performed Songs.Two arrangements of Hard to Say I’m Sorry are available for immediate download: one for SATB choir and one for SSA voicing, both with piano accompaniment.
$2.20
Hard Of Hearing
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Piano, Vocal and Guitar
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INTERMEDIATE/ADVANCED
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Andrew McDonald
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Andrew McDonald
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Hard Of Hearing
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Andrew Mc Donald
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1508107 By Andrew McDonald. By Andrew McDonald. Arranged by Andrew McDonald. Christian,Coun...
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Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1508107 By Andrew McDonald. By Andrew McDonald. Arranged by Andrew McDonald. Christian,Country,Pop. Score. 7 pages. Andrew Mc Donald (Macka Records) #1083396. Published by Andrew Mc Donald (Macka Records) (A0.1508107). Hard of Hearing is a song about sitting in church and trying to listen to the message that Jesus is wanting to convey. He wants to tell us the good news so that we can be saved. We can be distracted by chatting to our friend about what we are having for dinner or by the girl that we like sitting on the end of the pugh. The Holy Spirit is moving and all we can do is fall asleep. Are we hard of hearing? We could miss it! This is the piano and vocal score.
$6.10
Trying Not to Love You
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Guitar notes and tablatures
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Nickelback
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Trying Not to Love You
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Authentic Guitar TAB - Digital Download SKU: AX.00-PS-0013506 By Nickelback. By Brad Warren, Chad Kroeger, and Ryan Peake. Pop/Rock. 10 pages. Alfred Mus...
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Authentic Guitar TAB - Digital Download SKU: AX.00-PS-0013506 By Nickelback. By Brad Warren, Chad Kroeger, and Ryan Peake. Pop/Rock. 10 pages. Alfred Music - Digital Sheet Music #00-PS-0013506. Published by Alfred Music - Digital Sheet Music (AX.00-PS-0013506). ISBN 9780739088241. UPC: 038081437682.The hardest rocking album yet, by one of the most successful bands of the new millennium. All transcribed in full guitar TAB notation. Titles: This Means War * Bottoms Up * When We Stand Together * Midnight Queen * Gotta Get Me Some * Lullaby * Kiss It Goodbye * Trying Not to Love You * Holding On to Heaven * Everything I Wanna to Do * Don't Ever Let It End.
$2.99
Trying Hard
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Piano, Vocal and Guitar
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INTERMEDIATE
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Pop music
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Philip Jones
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Trying Hard
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Philip Jones
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1006640 Composed by Philip Jones. Pop. Score. 2 pages. Philip Jones #1910475. Published by ...
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1006640 Composed by Philip Jones. Pop. Score. 2 pages. Philip Jones #1910475. Published by Philip Jones (A0.1006640). The monotany of this tune actually makes it quite endearing. For keyboard, with chord symbols.
$2.99
Trying Too Hard (from Central Park) (arr. Roger Emerson)
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Film/TV
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Emmy Raver-Lampman and Michael
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Roger Emerson (ASCAP)
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Trying Too Hard
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Hal Leonard - Digital
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SheetMusicPlus
Choral Choral - Digital Download SKU: HX.1434529 By Emmy Raver-Lampman and Michael James Scott. By Elyssa Samsel and Kate Anderson. Arranged by Roger Eme...
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Choral Choral - Digital Download SKU: HX.1434529 By Emmy Raver-Lampman and Michael James Scott. By Elyssa Samsel and Kate Anderson. Arranged by Roger Emerson (ASCAP). Film/TV,Pop. Performance MP3. Duration 195. Hal Leonard - Digital #338371. Published by Hal Leonard - Digital (HX.1434529).
$1.99
Trying Too Hard (from Central Park) (arr. Roger Emerson)
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Film/TV
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Emmy Raver-Lampman and Michael
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Roger Emerson (ASCAP)
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Trying Too Hard
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Hal Leonard - Digital
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SheetMusicPlus
Choral Choral - Digital Download SKU: HX.1434530 By Emmy Raver-Lampman and Michael James Scott. By Elyssa Samsel and Kate Anderson. Arranged by Roger Eme...
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Choral Choral - Digital Download SKU: HX.1434530 By Emmy Raver-Lampman and Michael James Scott. By Elyssa Samsel and Kate Anderson. Arranged by Roger Emerson (ASCAP). Film/TV,Pop. Accompaniment Only. Duration 195. Hal Leonard - Digital #338371. Published by Hal Leonard - Digital (HX.1434530).
$26.99
Mission To Mars - The Space Album
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Piano, Vocal and Guitar
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INTERMEDIATE
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Pop music
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Philip Jones
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Mission To Mars - The Space Al
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Philip Jones
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1006631 Composed by Philip Jones. Pop. Score. 22 pages. Philip Jones #548427. Published by ...
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1006631 Composed by Philip Jones. Pop. Score. 22 pages. Philip Jones #548427. Published by Philip Jones (A0.1006631). 21 original tunes with a spacey feel that you probably won't have heard before, including Mission To Mars. 1. Bright New Day 2. Keep On Trying 3. Light and Shade 4. Make It Happen 5. Mission To Mars 6. Momentum 7. Moving Along 8. Now And Forever More 9. Ode To Discovery 10. Rolling Pins 11.Out In The Sunshine 12. Out There Somewhere A Far 13. Sparkling In The Sky 14.The Happening 15. Trying Hard 16. Up In The Heaven With The Angels 17. Up In The Sky And Way Yonder 18. Up On The Hill Tonight 19. When I Dream Of You 20. When You're Around 21. Whispering Wind. All melodies composed with chord symbols to sound amazing on any electronic organ or keyboard.
$9.99
Trying Hard to Forget by Chad Lawson - Piano Solo
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Piano solo
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Chad Lawson
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Trying Hard to Forget
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Musicnotes
Performed by: Chad Lawson: Trying Hard to Forget Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music f...
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Performed by: Chad Lawson: Trying Hard to Forget Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Instrumental Solo, instruments: Piano; 5 pages -- Classical~~Contemporary Instrumental~~Solo Instrumental
$5.50
Dese Weary Feet. Song and Chorus
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Choral SATB
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George M
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Dese Weary Feet. Song and Chor
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice (solo and SATB chorus) - Digital Download SKU: LV.4728 Composed by George M. Vickers. African Americans, Dialects, Distress, Freedmen, Ho...
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Piano and voice (solo and SATB chorus) - Digital Download SKU: LV.4728 Composed by George M. Vickers. African Americans, Dialects, Distress, Freedmen, Homesickness, Log cabins, Ethnic stereotypes. Lester S. Levy Collection. 5 pages. Published by Johns Hopkins University Sheridan Libraries (LV.4728). Dese Weary Feet. Song and Chorus. Words and Music by Geo. M. Vickers. Published 1880 by Lee & Walker, 1113 Chestnut St. in Philadelphia. Composition of strophic with chorus with piano and voice (solo and satb chorus) instrumentation. Subject headings for this piece include African Americans, Dialects, Distress, Freedmen, Homesickness, Log cabins, Ethnic stereotypes. First line reads I am trying hard to reach de blessed turning.. 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.
$5.99
Love Me
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Piano, Voice
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INTERMEDIATE/ADVANCED
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Andrew Mc Donald
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Love Me
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Andrew Mc Donald
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SheetMusicPlus
Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.841723 Composed by Andrew Mc Donald. Christian,Pop. Score. 6 pages. Andrew Mc Donald (Macka Record...
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Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.841723 Composed by Andrew Mc Donald. Christian,Pop. Score. 6 pages. Andrew Mc Donald (Macka Records) #3473549. Published by Andrew Mc Donald (Macka Records) (A0.841723). Love Me is a song about how sometimes in a relationship we are trying hard to express our feelings, and it all just goes pear shaped from there. Please Love me just love me baby, Can you just understand....Grrr...
$4.99
Ausente [piano solo]
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Piano solo
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INTERMEDIATE/ADVANCED
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Contemporary
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Juan MarÃa Solare
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Ausente [piano solo]
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Juan Maria Solare
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.596539 Composed by Juan MarÃa Solare. 20th Century,Concert,Contemporary. Score. 7 pages. Juan Maria So...
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Piano Solo - Level 4 - Digital Download SKU: A0.596539 Composed by Juan MarÃa Solare. 20th Century,Concert,Contemporary. Score. 7 pages. Juan Maria Solare #3880115. Published by Juan Maria Solare (A0.596539). Listen: https://soundcloud.com/juan-maria-solare/ausenteAusente (Abstent) is an atonal milonga. If Franz Liszt composed a Bagatelle without tonality, why not a milonga without tonality. This piece is placed somewhere between classical music and new tango. Moderator Louis Barabbas wrote about Ausente for the BBC blog Fresh On The Net nr. 305 (19 November 2018), http://freshonthenet.co.uk/2018/11/faves305 Described as 'somewhere between classical music and new tango' the artist’s phrasing here is telling: somewhere rather than something. For in Juan Maria Solare’s Ausente (absent) we are certainly transported. Each angular phrase jutting up like stone columns or distended stalactites in a limey cave. The trickling thrust of its furtive intent feels somehow elemental yet focused through an urban noir prism, drops of heavy water in varying temperatures, some icicles and some steam, shards of smoky light poking around slow moving fan blades and between the rusty teeth of ancient window grills, monstrous warped shadows cast up from humble orphaned minutiae. Music as beautiful and unsettling as it is hard to dance to. The idea of dancing this piece was a surprise for me, since tango music doesn't need to be danced to (you can also just listen to it). But if you wonder how this tango would appear danced, imagine it is not called tango but contemporary ballet rooted in tango - and suddenly you find ways of dancing it... provided an open-minded choreographer is on board! If someone wants to dance this music in the style of the tango of 1920, they will have a hard time. It would be like trying to dance Strawinsky's Le Sacre du printemps as if it were the Blue Danube Waltz. Juan MarÃa Solare http://www.JuanMariaSolare.com
$2.50
Andante (2nd Movement) from Piano Concerto No. 21 "Elvira Madigan" (Mozart) - Solo Piano (Level 4)
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Piano solo
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INTERMEDIATE/ADVANCED
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Classical
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Wolfgang Amadeus Mozart, Mozar
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Rob Bushnell
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Andante
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RBMusic
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.752422 Composed by Wolfgang Amadeus Mozart, Mozart. Arranged by Rob Bushnell. Classical,Film/TV. Score. 7...
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Piano Solo - Level 4 - Digital Download SKU: A0.752422 Composed by Wolfgang Amadeus Mozart, Mozart. Arranged by Rob Bushnell. Classical,Film/TV. Score. 7 pages. RBMusic #6014617. Published by RBMusic (A0.752422). Famously used in the 1967 film Elvira Madigan, hence the nickname, the Elvira Madigan concerto, Mozart's Piano Concerto No. 21 was completed soon after his 20th in 1785. There are 5 different arrangements for solo piano, each getting progressively harder and trying not to compromise on sound where possible: Level 1: Just over a minute long, this is the easiest version. Both hands are very simple and are very close together, making it easier to see what all the fingers are doing at the same time. No jumps greater than a fifth and no large chords, making it perfect for smaller hands. Level 2: Two version provided: the first just over a minute long; the second the complete length of the movement, minus the orchestra introduction. Again, the melody has been simplified, though harder than level 1, with an increased coverage of the piano. The accompaniment is either static chords (now triads as standard) or broken arpeggios. It now has jumps in the right hand of just over an octave, with the left hand moving relatively little between chords/arpeggios. Level 3: This version has an optional cut, otherwise is the complete second movement, minus the orchestral introduction. Similar to level 2, only one hand tends to be changing pitches/rhythms at any one time, but the right hand is now almost the same as Mozart’s original (with some ornamentation removed or written out in full). The left hand now has the familiar broken-chord pattern (see opening bars) but in simple rather than compound time. On the whole, the left hand moves relatively little between chords, although there are now some larger jumps when the right hand is static. Level 4: Like level 3, but with the broken chord in compound time throughout. Some of the orchestral accompaniment has been integrated into the music, though simplified. Level 5: The hardest version, more difficult than the original solo piano part. Still no orchestral introduction. Includes more of the orchestral accompaniment than level 4. This, in essence, is a piano transcription of the full orchestration for piano and orchestral. Here is a recording on YouTube of Alicia De Larrocha playing the solo with Sir Colin Davis conducting the English Chamber Orchestra: https://www.youtube.com/watch?v=df-eLzao63I.
$9.50
Andante (2nd Movement) from Piano Concerto No. 21 "Elvira Madigan" (Mozart) - Solo Piano (Level 2)
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Piano solo
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EASY
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Classical
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Wolfgang Amadeus Mozart, Mozar
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Rob Bushnell
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Andante
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RBMusic
#
SheetMusicPlus
Piano Solo - Level 2 - Digital Download SKU: A0.752421 Composed by Wolfgang Amadeus Mozart, Mozart. Arranged by Rob Bushnell. Classical,Film/TV. Score. 6...
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Piano Solo - Level 2 - Digital Download SKU: A0.752421 Composed by Wolfgang Amadeus Mozart, Mozart. Arranged by Rob Bushnell. Classical,Film/TV. Score. 6 pages. RBMusic #6014595. Published by RBMusic (A0.752421). Famously used in the 1967 film Elvira Madigan, hence the nickname, the Elvira Madigan concerto, Mozart's Piano Concerto No. 21 was completed soon after his 20th in 1785. There are 5 different arrangements for solo piano, each getting progressively harder and trying not to compromise on sound where possible: Level 1: Just over a minute long, this is the easiest version. Both hands are very simple and are very close together, making it easier to see what all the fingers are doing at the same time. No jumps greater than a fifth and no large chords, making it perfect for smaller hands. Level 2: Two version provided: the first just over a minute long; the second the complete length of the movement, minus the orchestra introduction. Again, the melody has been simplified, though harder than level 1, with an increased coverage of the piano. The accompaniment is either static chords (now triads as standard) or broken arpeggios. It now has jumps in the right hand of just over an octave, with the left hand moving relatively little between chords/arpeggios. Level 3: This version has an optional cut, otherwise is the complete second movement, minus the orchestral introduction. Similar to level 2, only one hand tends to be changing pitches/rhythms at any one time, but the right hand is now almost the same as Mozart’s original (with some ornamentation removed or written out in full). The left hand now has the familiar broken-chord pattern (see opening bars) but in simple rather than compound time. On the whole, the left hand moves relatively little between chords, although there are now some larger jumps when the right hand is static. Level 4: Like level 3, but with the broken chord in compound time throughout. Some of the orchestral accompaniment has been integrated into the music, though simplified. Level 5: The hardest version, more difficult than the original solo piano part. Still no orchestral introduction. Includes more of the orchestral accompaniment than level 4. This, in essence, is a piano transcription of the full orchestration for piano and orchestral. Here is a recording on YouTube of Alicia De Larrocha playing the solo with Sir Colin Davis conducting the English Chamber Orchestra: https://www.youtube.com/watch?v=df-eLzao63I.
$5.75
Fanfare and Allegro for Brass Quintet
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Brass quartet : 2 trumpets, trombone, tuba
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ADVANCED
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Zack Richards
#
Fanfare and Allegro for Brass
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Zack Richards
#
SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.894386 Composed by Zack Richards. 20th Century,Concert,Contemporary,Easter...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.894386 Composed by Zack Richards. 20th Century,Concert,Contemporary,Easter. Score and parts. 34 pages. Zack Richards #5197213. Published by Zack Richards (A0.894386). During my undergraduate career at The University of Akron, like many college students, I went through a year of trying to discover what I really wanted to do. In my sophomore year, I dropped from Music Education, and picked up a double major in Trumpet Performance and Composition with a minor in Jazz Studies. After 2 semesters of taking nearly 30 credit hours and a need to change my embouchure, I decided to focus on trumpet and come back to composition later. After finishing my BM in Trumpet Performance, I decided to go for a MM in Composition. This piece was one that I wrote for entry into the graduate program. To this day, it is still one of my favorite compositions! It's a lot of fun, very difficult and taxing, but also very musically interesting. It melds together several interesting melodic lines and motifs, and each player gets a chance to shine. There are also a lot of great ensemble moments where lines get passed through the entire quintet and turn it into one instrument. It's a piece for advanced players for sure, but a great feature for any group willing to give it a go!Brass QuintetAdvancedApprox. 6:30Visit zackrichards.com for more from this composer!
$17.99
Chorus and Aria from Ariadne auf Naxos
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Guitar
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INTERMEDIATE/ADVANCED
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Classical
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Chorus and Aria from Ariadne a
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
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Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00
'A golden time ...' from Ariadne auf Naxos
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Guitar
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INTERMEDIATE/ADVANCED
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Classical
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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'A golden time ...' from Ariad
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
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Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00
Excerpt from the Last Part of Ariadne Auf Naxos
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Guitar
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INTERMEDIATE
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Classical
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Mag...
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Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
Overture from Ariadne auf Naxos
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Guitar
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INTERMEDIATE/ADVANCED
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Classical
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Overture from Ariadne auf Naxo
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
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Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00
Toccata and Fuge in d-Moll BWV 565 for Violin & Viola, Ver.1
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Violin, Viola (duet)
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ADVANCED
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Classical
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Johann Sebastian Bach
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Kamada, Mikio
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Toccata and Fuge in d-Moll BWV
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ACORDO Sheet Music
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SheetMusicPlus
Instrumental Duet,Viola,Violin - Level 5 - Digital Download SKU: A0.1402227 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 19 pag...
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Instrumental Duet,Viola,Violin - Level 5 - Digital Download SKU: A0.1402227 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 19 pages. ACORDO Sheet Music #985434. Published by ACORDO Sheet Music (A0.1402227). Toccata and Fugue in D Minor, BWV 565 by Johann Sebastian Bach (1685-1750) is a famous piece for the organ. Surprisingly, it wasn't very popular when Bach was alive. It was first published in 1833 by Felix Mendelssohn in a collection called noch wenig bekannte Orgelcompositinen. Mendelssohn performed it in 1840, which made it more well-known. This piece is different from Bach's later works in style and composition; for example, the fugue is relatively simple. Music expert Peter Williams suggested in his 2003 book The Organ Music of J. S. Bach that it might have originally been written for solo violin. Following his idea, some people tried to adapt it for solo violin, with some versions in A minor based on his suggestion.While it's unsure if Williams' idea is correct, it implies that this piece might work well for string instruments. We decided to arrange it for a Violin and Viola Duet, trying to stay close to the original organ version. However, because of technical reasons, we had to remove some parts. Our first arrangement was liked at a small concert in 2022. During this, we realized that the music could be good for string ensembles. We also found that removing some notes made the remaining ones stand out, sometimes making a special beauty. This suggests that the music might have been meant for string instruments originally.We first planned to publish this arrangement in 2020, but we changed our minds. We wanted as many people as possible to enjoy this wonderful piece, so we decided to publish two versions. Version 1 is similar to the organ score, sounding familiar but being technically hard. In contrast, Version 2 skips some notes, making it easier technically. Players will still experience the unique beauty of string ensembles with intentional note removal. The choice between the two depends on what players prefer and their skill level.To help players understand better, we've used colored notes. Different colors show different voices, helping players know each instrument's role. In Version 2, green notes show parts where both instruments play the same thing. While these notes are optional, playing them will help synchronize the two parts.Turning pages can be hard because there aren't many rests. We suggest using a tablet or arranging music stands side by side with all six pages in a row. If that's not possible, we suggest connecting pages 1-3 and 4-6 horizontally with cardboard. Put pages 1-3 in front and 4-6 in the back. For specific instructions during the piece:- The Violin plays the Viola part in bar 74, shown by solid parentheses. Turn the page after playing the third beat of bar 75 and don't play the Violin part in bar 76 (marked with dashed brackets), as the Viola will play it.- The Viola turns the page right after playing bar 73. Instead of playing the part in dashed parentheses in bar 74 (which the Violin will play), play the Violin part of bar 75 (marked with actual parentheses).
$12.60
Toccata and Fuge in d-Moll BWV 565 for Violin & Viola, Ver.2
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Violin, Viola (duet)
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ADVANCED
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Classical
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Johann Sebastian Bach
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Kamada, Mikio
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Toccata and Fuge in d-Moll BWV
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ACORDO Sheet Music
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SheetMusicPlus
Instrumental Duet,Viola,Violin - Level 5 - Digital Download SKU: A0.1402228 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 19 pag...
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Instrumental Duet,Viola,Violin - Level 5 - Digital Download SKU: A0.1402228 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 19 pages. ACORDO Sheet Music #985435. Published by ACORDO Sheet Music (A0.1402228). Toccata and Fugue in D Minor, BWV 565 by Johann Sebastian Bach (1685-1750) is a famous piece for the organ. Surprisingly, it wasn't very popular when Bach was alive. It was first published in 1833 by Felix Mendelssohn in a collection called noch wenig bekannte Orgelcompositinen. Mendelssohn performed it in 1840, which made it more well-known. This piece is different from Bach's later works in style and composition; for example, the fugue is relatively simple. Music expert Peter Williams suggested in his 2003 book The Organ Music of J. S. Bach that it might have originally been written for solo violin. Following his idea, some people tried to adapt it for solo violin, with some versions in A minor based on his suggestion.While it's unsure if Williams' idea is correct, it implies that this piece might work well for string instruments. We decided to arrange it for a Violin and Viola Duet, trying to stay close to the original organ version. However, because of technical reasons, we had to remove some parts. Our first arrangement was liked at a small concert in 2022. During this, we realized that the music could be good for string ensembles. We also found that removing some notes made the remaining ones stand out, sometimes making a special beauty. This suggests that the music might have been meant for string instruments originally.We first planned to publish this arrangement in 2020, but we changed our minds. We wanted as many people as possible to enjoy this wonderful piece, so we decided to publish two versions. Version 1 is similar to the organ score, sounding familiar but being technically hard. In contrast, Version 2 skips some notes, making it easier technically. Players will still experience the unique beauty of string ensembles with intentional note removal. The choice between the two depends on what players prefer and their skill level.To help players understand better, we've used colored notes. Different colors show different voices, helping players know each instrument's role. In Version 2, green notes show parts where both instruments play the same thing. While these notes are optional, playing them will help synchronize the two parts.Turning pages can be hard because there aren't many rests. We suggest using a tablet or arranging music stands side by side with all six pages in a row. If that's not possible, we suggest connecting pages 1-3 and 4-6 horizontally with cardboard. Put pages 1-3 in front and 4-6 in the back. For specific instructions during the piece:- The Violin plays the Viola part in bar 74, shown by solid parentheses. Turn the page after playing the third beat of bar 75 and don't play the Violin part in bar 76 (marked with dashed brackets), as the Viola will play it.- The Viola turns the page right after playing bar 73. Instead of playing the part in dashed parentheses in bar 74 (which the Violin will play), play the Violin part of bar 75 (marked with actual parentheses).
$12.60
Just a Little COVID Song
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Piano, Vocal and Guitar
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INTERMEDIATE
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David Kai
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Just a Little COVID Song
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David Kai
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.893865 Composed by David Kai. Contemporary,Country,Pop. Score. 3 pages. David Kai #6108841....
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.893865 Composed by David Kai. Contemporary,Country,Pop. Score. 3 pages. David Kai #6108841. Published by David Kai (A0.893865). This song has a public health message wrapped up in a bit of humour. This is not to ignore the incredible suffering this virus has caused, but it could be that we need some lightness in these very heavy times. Just a Little COVID Song is based on the previously recorded Just a Little Snowbird Song.JUST A LITTLE COVID SONGWords and music by David Kai ©2020Just a little COVID song, stay inside the whole day longWondering how long it’ll be, it’s feeling like eternity Looking like a big disgrace, need a mask to hide my faceI’ll sing this little COVID songThis virus has me cooped up but I’ve got to play it safeNot doing very much of anythingWas looking for ideas but it’s tough to get inspiredThen out of nowhere I began to singJust a little COVID song, stay inside the whole day longWondering how long it’ll be, it’s feeling like eternityNow my style is out of whack, hair is halfway down my back I’ll sing this little COVID song (instrumental chorus)We’re thankful for the workers who are trying to keep us safeAnd searching hard to find a new vaccineSo wash your hands and wear a mask and stay away from crowdsSo maybe next year I won’t have to singJust a little COVID song, stay inside the whole day longWondering how long it’ll be, it’s feeling like eternity Waiting in the Costco line, toilet paper’s hard to findI’ll sing this little COVID songJust a little COVID song, stay inside the whole day longWondering how long it’ll be, it’s feeling like eternity Hoping for that happy day, we’ll send that virus on its wayWon’t have to sing this little COVID, sing this little COVID,Sing this little COVID song.
$3.00
Fanfare: "Grit" - Horn 2 in F
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French horn
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ADVANCED
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Benjamin Harry Sajo
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Fanfare: "Grit" - Horn 2 in F
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Benjamin Sajo
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SheetMusicPlus
French Horn Solo - Level 5 - Digital Download SKU: A0.1018968 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 2 pages. Benja...
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French Horn Solo - Level 5 - Digital Download SKU: A0.1018968 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 2 pages. Benjamin Sajo #6086619. Published by Benjamin Sajo (A0.1018968). Programme Notes: Fanfare: Grit evokes the brassy and rousing tropes of adventure movie soundtracks and Saturday morning cartoons, such as those written by John Williams, Shirley Walker, among others. Writing this piece was an escapade to my own musical roots for this was the first type of music I had been exposed to as a child: incidental music accompanying perilous quests, hairbreadth escapes, and other trials blocking the hero’s path to victory and redemption. I wanted to compose a piece that harkens back to the music that I first fell in love with, that opened up the gates of a legacy--symphonic classical music--that’s always been my solace in trying times. What is grit? Grit is the dirt between smiles and between barefoot toes. Grit is a hard-boiled detective. Grit is tilling the tough soil for the possibility of a beautiful blossoming of flowers. Grit is saying, See you soon, and making sure it happens. Grit is helping others when it’s hard to help yourself. Grit isn’t easy bravery, but the kind of courage you need to build up brick by brick. The obligatory synonyms: courage, bravery, pluck, mettle, and spirit. Finally, this composition, the fourth of my so-called Beethoven Episodes, was written to accompany Ludwig van Beethoven’s 4th Symphony. This work was written on his 250th anniversary, coincidentally during the Covid-19 Pandemic of 2020, and is the sum of my feelings wrought from that experience. Yet this work was completed on Canadian Thanksgiving, and is also an expression of all that I am grateful for, from the bottom of my heart.
$3.50
Fanfare: "Grit" - Bassoon 1
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Bassoon
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ADVANCED
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Benjamin Harry Sajo
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Fanfare: "Grit" - Bassoon 1
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Benjamin Sajo
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SheetMusicPlus
Bassoon Solo - Level 5 - Digital Download SKU: A0.1018966 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 2 pages. Benjamin ...
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Bassoon Solo - Level 5 - Digital Download SKU: A0.1018966 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 2 pages. Benjamin Sajo #6086607. Published by Benjamin Sajo (A0.1018966). Programme Notes: Fanfare: Grit evokes the brassy and rousing tropes of adventure movie soundtracks and Saturday morning cartoons, such as those written by John Williams, Shirley Walker, among others. Writing this piece was an escapade to my own musical roots for this was the first type of music I had been exposed to as a child: incidental music accompanying perilous quests, hairbreadth escapes, and other trials blocking the hero’s path to victory and redemption. I wanted to compose a piece that harkens back to the music that I first fell in love with, that opened up the gates of a legacy--symphonic classical music--that’s always been my solace in trying times. What is grit? Grit is the dirt between smiles and between barefoot toes. Grit is a hard-boiled detective. Grit is tilling the tough soil for the possibility of a beautiful blossoming of flowers. Grit is saying, See you soon, and making sure it happens. Grit is helping others when it’s hard to help yourself. Grit isn’t easy bravery, but the kind of courage you need to build up brick by brick. The obligatory synonyms: courage, bravery, pluck, mettle, and spirit. Finally, this composition, the fourth of my so-called Beethoven Episodes, was written to accompany Ludwig van Beethoven’s 4th Symphony. This work was written on his 250th anniversary, coincidentally during the Covid-19 Pandemic of 2020, and is the sum of my feelings wrought from that experience. Yet this work was completed on Canadian Thanksgiving, and is also an expression of all that I am grateful for, from the bottom of my heart.
$3.50
Fanfare: "Grit" - Horn 1 in F
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French horn
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ADVANCED
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Benjamin Harry Sajo
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Fanfare: "Grit" - Horn 1 in F
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Benjamin Sajo
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SheetMusicPlus
French Horn Solo - Level 5 - Digital Download SKU: A0.1018970 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 2 pages. Benja...
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French Horn Solo - Level 5 - Digital Download SKU: A0.1018970 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 2 pages. Benjamin Sajo #6086617. Published by Benjamin Sajo (A0.1018970). Programme Notes: Fanfare: Grit evokes the brassy and rousing tropes of adventure movie soundtracks and Saturday morning cartoons, such as those written by John Williams, Shirley Walker, among others. Writing this piece was an escapade to my own musical roots for this was the first type of music I had been exposed to as a child: incidental music accompanying perilous quests, hairbreadth escapes, and other trials blocking the hero’s path to victory and redemption. I wanted to compose a piece that harkens back to the music that I first fell in love with, that opened up the gates of a legacy--symphonic classical music--that’s always been my solace in trying times. What is grit? Grit is the dirt between smiles and between barefoot toes. Grit is a hard-boiled detective. Grit is tilling the tough soil for the possibility of a beautiful blossoming of flowers. Grit is saying, See you soon, and making sure it happens. Grit is helping others when it’s hard to help yourself. Grit isn’t easy bravery, but the kind of courage you need to build up brick by brick. The obligatory synonyms: courage, bravery, pluck, mettle, and spirit. Finally, this composition, the fourth of my so-called Beethoven Episodes, was written to accompany Ludwig van Beethoven’s 4th Symphony. This work was written on his 250th anniversary, coincidentally during the Covid-19 Pandemic of 2020, and is the sum of my feelings wrought from that experience. Yet this work was completed on Canadian Thanksgiving, and is also an expression of all that I am grateful for, from the bottom of my heart.
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