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Level 3 - Digital Download SKU: A0.1133711 By Various. By Anonymous, Giorgio Mainerio, Michael Praetorius, Pierre Attaignant, Pierre Certon, Pierre Phalese, and Tielman Susato. Arranged by Alastair Lodge. Early Music,Folk,Historic,Medieval,Renaissance. 50 pages. Wold Meridian #733808. Published by Wold Meridian (A0.1133711). This is a companion to my earlier volume Chording to the Dance Masters which presented 44 of my favourite Renaissance Dance band tunes and arranged them as a single melody line with chords derived from the original harmony lines. In this volume I have reunited 22 of the pieces with the lower parts in the score, so that with more collaborators, the fullness of the original arrangement can be heard. The chords are still present, so if the ensemble is short handed, and lines are missing, the arrangements will still work. What is more, by contrasting the melody and chords with the full scoring, it should be possible to work some light and shade into performances.Â You can hear all the pieces and their chords on YouTube together with contemporary art and historical background material:https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNSAs a help to those less confident in playing harmony lines, I have provided links to playlists of videos online for each part of each piece. You will hear the selected line on its own with chords and percussion, with the melody line added on repeats. The final repeat includes the other harmony lines, but the featured line is slightly louder in the mix. The performance starts with a percussion beat introduction to set the tempo.Who were the Publishers and the Dance Masters? What did they do? Sometime around the 1500s, the popularity of dance music exploded in Europe. Dance Masters were collecting chansons and dance tunes from courts and rural parts and were teaching these to new audiences, spreading their arrangements and reflecting the performance styles of the areas from which they had collected the tunes. Publishers were able to take these tunes that were becoming known across the regions and nations and spread them even more widely, thanks to technological innovations in music printing which made it quicker and therefore cheaper to produce collections of these dances in four or more parts. These publishers were often highly accomplished composers in their own right, who were both able to provide distinctive harmony lines and compose new tunes in the style of their sources, feeding the courts with enduring tunes. Composers and printers of this time would often use note values that are double the length of those we would be used to seeing today, and so to make this version more readable, breves have become semibreves or whole notes, semibreves have become minims or half notes and so on. Working with this publication For those just starting out in Early Music, the volume is an ideal introduction, since the ensemble can build from a soloist with accompaniment with the chords alone, and parts can be added in as additional musicians become available. Instrumentation for these pieces was not specified in the original prints. The range of each part is quite limited, and though the harmonies may seem strange at times, key signatures are kind to the less experienced musician. If enthusiasm takes hold, then reproductions of early music instruments are sold by some very talented makers, as well as coming up on auction sites. Otherwise, it is possible to put together a fairly convincing ensemble with recorders, violins, a cello and mandolins, bouzoukis, flutes or guitars and gradually introduce the authentic instruments as they become available.

Level 3 - Digital Download SKU: A0.1133721 By Various. By Anonymous, Claude Gervaise, Claudin de Sermisy, Erasmus Widmann, Giorgio Mainerio, Henry VIII, Juan Del Encina, Michael Praetorius, Pierre Attaignant, Pierre Phalese, Thoinot Arbeau, Tielman Susato, and William Cornysh. Arranged by Alastair Lodge. Early Music,Folk,Historic,Medieval,Renaissance. 50 pages. Wold Meridian #733832. Published by Wold Meridian (A0.1133721). This is a companion to my earlier volume Chording to the Dance Masters which presented 44 of my favourite Renaissance Dance band tunes and arranged them as a single melody line with chords derived from the original harmony lines. In this volume I have reunited 22 of the pieces with the lower parts in the score, so that with more collaborators, the fullness of the original arrangement can be heard. The chords are still present, so if the ensemble is short handed, and lines are missing, the arrangements will still work. What is more, by contrasting the melody and chords with the full scoring, it should be possible to work some light and shade into performances. Â You can hear all the pieces and their chords on YouTube together with contemporary art and historical background material:https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNSAs a help to those less confident in playing harmony lines, I have provided links to playlists of videos online for each part of each piece. You will hear the selected line on its own with chords and percussion, with the melody line added on repeats. The final repeat includes the other harmony lines, but the featured line is slightly louder in the mix. The performance starts with a percussion beat introduction to set the tempo.Who were the Publishers and the Dance Masters? What did they do? Sometime around the 1500s, the popularity of dance music exploded in Europe. Dance Masters were collecting chansons and dance tunes from courts and rural parts and were teaching these to new audiences, spreading their arrangements and reflecting the performance styles of the areas from which they had collected the tunes. Publishers were able to take these tunes that were becoming known across the regions and nations and spread them even more widely, thanks to technological innovations in music printing which made it quicker and therefore cheaper to produce collections of these dances in four or more parts. These publishers were often highly accomplished composers in their own right, who were both able to provide distinctive harmony lines and compose new tunes in the style of their sources, feeding the courts with enduring tunes.Â Composers and printers of this time would often use note values that are double the length of those we would be used to seeing today, and so to make this version more readable, breves have become semibreves or whole notes, semibreves have become minims or half notes and so on.Â Working with this publicationÂ For those just starting out in Early Music, the volume is an ideal introduction, since the ensemble can build from a soloist with accompaniment with the chords alone, and parts can be added in as additional musicians become available. Instrumentation for these pieces was not specified in the original prints. The range of each part is quite limited, and though the harmonies may seem strange at times, key signatures are kind to the less experienced musician. If enthusiasm takes hold, then reproductions of early music instruments are sold by some very talented makers, as well as coming up on auction sites. Otherwise, it is possible to put together a fairly convincing ensemble with recorders, violins, a cello and mandolins, bouzoukis, flutes or guitars and gradually introduce the authentic instruments as they become available.

Piano Quartet - Level 5 - Digital Download SKU: A0.1329920 Composed by James E. Andersson. 19th Century,21st Century,Classical,Comedy,Contemporary. 35 pages. Sahale Studios #917904. Published by Sahale Studios (A0.1329920). Once there was an oboist who was a member of a chamber ensemble consisting of flute, oboe, cello, and, piano. The oboist was highly skilled; a virtouoso who could ornament without the slighest effort. They were notorious for doing so.One day during dress rehearsal, the oboist, familiar enough with the music began ornamenting and adding stylistic flourishes, becoming increasingly carried away with their part. It finally reaches a point where the others stop playing and let the oboe go completely overboard with a full cadenza. Not far into the solo, the oboe realizes everyone else has stopped playing and stops themself and the rehearsal continues. However, not much farther along, the oboist becomes carried away in their part again, resulting in the other musicians pausing again as the oboist proceeds into another cadenza passage before realizing the others have stopped again.The rehearsal continues, and they all get further along (due to the oboe simply not playing), but when the oboe plays the melody, the ornaments and finesse return in full display, and finally the piano cuts the oboe off. At the slightest hint of an ornament all the other musicians in the ensmeble join in and cut off the oboe. From this, the oboist sinks into low spirits.The rehearsal continues unabated through the next section, and when the oboist enters, they play their part as written, but the ornamentations begin creeping in again. But rather than admonish the oboist the others instead speed the music up into the recapitulation section and for the remainder of the piece and rehearsal they all go wild with flourishes and ornamentations of their own, bringing the piece to a rollicking and lively conclusion.

B-Flat Clarinet,Piano,Violin - Level 5 - Digital Download SKU: A0.1208741 Composed by Adam Lenhart. Chamber,Classical,Contemporary,Contest,Festival. 33 pages. Adam Lenhart #806841. Published by Adam Lenhart (A0.1208741). Introduction to The RubÃ¡iyÃ¡t of Omar KhayyÃ¡mThe Rubaiyat of Omar Khayyam is a Persian poetry collection first put together in 1460 in Shiraz. Â It consists of quatrains, four-line poems, with a set of unconventional themes. Â The poetry is irreligious and questions the afterlife and God's providence. Â It shows keen awareness of the shortness of life and the finality of death. It advises therefore that every fleeting moment of every day should be savored, with wine, lovers and song. The combination of a serious philosophy of life and a carefree attitude has made the poetry popular for centuries. Â In 1859, Edward FitzGerald brought out a loose English translation that took the world by storm. Â It became the most beloved and widely known poem in the English language for decades until its popularity finally faded in the late twentieth century. Although they were attributed to the great mathematician and astronomer, Omar Khayyam (d. 1131), the poems were by many anonymous hands, and he was just a frame author, akin to Scheherezade in the Arabian Nights.- Dr. Juan Cole, Richard P. Mitchell Collegiate Professor of History at the University of MichiganAbout the CompositionTwo Scenes from The RubÃ¡iyÃ¡t of Omar KhayyÃ¡m explores and embodies two of the main themes that carry throughout the quatrains of the poem collection. In FitzGerald's translation, the quatrains follow a day to night cycle. The two movements reflect this by starting off with an abrupt wake up section and ending the piece with a nocturne. Â The first movement, Wine, celebrates the camaraderie, joy and chaos that comes through the physical joy of being with friends. The clarinet, violin and piano interact in a conversational way, talking, laughing, and insulting one another in their own independent lines.The second movement is entitled Intimacy and explores the emotional joy of connecting with one another. The movement is set in a waltz style dance and draws influence from Chopin, Liszt and other romantic era composers. This is juxtaposed by youthful and energetic phrases so that the piece embodies all forms of love: young love, years of marriage and even friendship. Each movement has a sense of urgency and density which is present in the rubÃ¡'iyÃ¡t as well, expressing to the reader that our time on Earth is so short and to make the most of each day.---------------------------Adam Lenhart (b. 2002) is a University of Michigan student of music theory, composition, voice and organ from Ottawa Lake, Michigan. As a theorist, his areas of study vary widely, including 18th century counterpoint, the early American Sacred Harp tradition, and impressionism. As a composer, his music draws inspiration from nature, mathematics and poetry. In 2020 he was awarded the Michigan Music Education Associationâ€™s Young Composers of Michigan award, as well as first prize in the University of Toledo Young Composers competition. Lenhart has also participated in numerous ensembles across Michigan, including the MYAF All-State Choir, Tecumseh Pops Orchestra, University of Michigan Menâ€™s Glee Club and the SMTD University Choir. He thoroughly enjoys collaboration with other composers, performers, poets and visual artists. Some of his recent projects include collaborations with individuals from the University of Michigan Chamber Music, History, and Poetry departments.

Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.1256884 Composed by Lon W. Chaffin. 21st Century,Chamber. 71 pages. LCS Productions #850272. Published by LCS Productions (A0.1256884). Imagine a place where cultures are blended and people of all races can laugh, play, sing, dance, and even pray together. Â Colores is a musical tale in which children show us how to create such a place.A child walks on to a deserted playground, looking for others. Â Another child joins. Â They introduce themselves and begin to talk to each other. Â A third joins the conversation, then another, and another, until there is a large group of children, creating a colorful, contrapuntal cacophony of vocal chatter. Â After the introductions and lively conversations, they pause to decide what to do next. Â As would be expected, they decide to just play. Â They run races, play chase and tag, catch and kickball, and laugh and giggle until their energy is gone. Â Settling down, and wondering what to do next, one child begins singing a tune that is familiar. Â â€¦but not to all of them. Â So, itâ€™s time to teach the song to everyone.The tune is shared, bit by bit, and one by one every child learns it and joins in. Â Before itâ€™s over, their full-voiced singing creates a choral tapestry in which every child adds his or her own color to the musical palette.After a brief conversation, they add their renewed energy to the song they just learned, pick up the pace, and dance. Â They twist and spin, jump and swing, making up their moves as they go along. Â But, as before, their energy wanes. Â This time, as they settle down, one child feels so comfortable with these new friends, he chooses to share his faith in the form of a chant â€” a prayer.Some join his prayer, as others add a familiar religious tune. Â They pray and sing, and their separate experiences combine to produce a stirring, blended chorale. Â As they finish, the day ends and they quickly reminisce about the blended experiences that are now behind them. Â Before they go their separate ways, they share a moment of gratitude for the place where they can be free to be who they are, together.On a musical note, Colores combines multiple scale structures and varying types of vertical harmonies to give the piece its color palette. Â Each of the five voices is set in a different mode, with different tonal centers and sets of accidentals. Â The harmony combines both traditional tertian chords with secondal, quartal, and quintal structures.The colors within the music are intended to represent the racial diversity of the borderland from which the composer drew his inspiration. Â It is hoped that we can learn from the example of children who talk, laugh, play, sing, dance, and pray together. Â â€¦who are grateful for the time and experiences they share.

Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1255098 Composed by Ross Fiddes. 21st Century,Chamber,Classical,Contemporary. Score. 25 pages. Ross Fiddes #848692. Published by Ross Fiddes (A0.1255098). It was in the aftermath of the 2020 summer bushfires in Australia that soprano Ayse Goknur Shanala rang me from Cyprus to suggest I compose a work about climate change, a subject of concern for me. Â My research for lyrics did not elicit anything I considered suitable, so I turned to Derek Dowding, a local poet, singer, actor, raconteur, and a person vitally interested in the future of humanity and of the planet.Derek and I had worked together before â€“ he brilliantly performed the role of Abelard in the workshopping and concert performances of my hybrid opera â€œAbelard and Heloiseâ€, which, in 1997, won the supreme CONDA (City of Newcastle Drama Award) Â for â€˜Outstanding Achievement in Newcastle Theatreâ€™ against some 200 other stage productions in Newcastleâ€™s bi-centenary year.Derek worked long and late on the lyrics for the work, producing an emotional document covering history, cause and effect. Â His words produced musical responses from me which I consider react appropriately to both his words and the subject matter. I hope our listeners will agree.For the musical treatment I had to consider that the length of the work, through-sung, 20+ minutes, required a recurrent grounding to avoid too many thematic ideas getting in the way of the words. Â To that end, I created a quasi-reflective section which appears, rondo-style, quite a few times during the length of the piece. Â And, for further cohesion, I built an ABA (ternary) section early to address certain word structures. Â Mostly, the various sections followed the stanza structure provided by Derek, with some combinations. Â My musical style is essentially melodic, but with dramatic and other episodes, be they tonal, astringent, harmonically indecisive and so on. Â In building the work I was principally influenced by the impact and flow of the words.The work is quite mammoth for both the singer and the pianist. Â I was absolutely delighted that Anna Fraser again premiered a work of mine â€“ in 2015 she marvellously premiered another major composition of mine, reviewed here: Â http://soundslikesydney.com.au/reviews/concert-review-the-man-in-the-other-roomacacia-quartetanna-fraser/19830.htmlWe can only hope that the new work ultimately adds to the chorus of warnings and concern about the climactic future that awaits if we continue to ignore or postpone dramatic and urgent attention to addressing the causes of climate change.A living orb cloaked white and blue and greenRevolving and evolving, tight-hugged in orbit flightWe ride her back; dependent, fragile offspring.Suckling all the while â€¦but have we bonded?A world unlike any other world weâ€™ve seenGifted with Water, Air, Earth and perfect Light.The essentials of life. Freely, these gifts she brings.Free for all but how have we responded?Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â PoemÂ© 2020 Derek DowdingRoss FiddesJanuary 2023.

3 Pieces for the Piano - Opus 1 Piano solo

Piano Solo - Digital Download SKU: A0.1087984 Composed by Eamon Mukhopadhyay. Conte…(+)

Piano Solo - Digital Download SKU: A0.1087984 Composed by Eamon Mukhopadhyay. Contemporary. Score. 31 pages. Eamon Mukhopadhyay #692177. Published by Eamon Mukhopadhyay (A0.1087984). These three pieces are to mimic studies of voicing and touch through lyrical forms. Each specific BPM marking in the tempo is intentionally preceded with ossia rather than ca.. This is to emphasize complete tempo freedom for the performer. The BPM markings are simply given as an initial baseline, showing the general tempo that the composer would perform these pieces at. Neither of the three pieces finish with a triad. Instead, they end with some form of extended harmony, whether it be through a chord or arpeggio. Neither the specific meaning of the piece nor the method to play the piece is included in the piece descriptions following this sentence, as those choices are specific to the performer. Nocturne in A Major (Op. 1 No. 1) uses both contemporary and traditional harmonic concepts, with add9 chords and extended harmonies integrating further color into the piece. Much material of Winter Landscapes in E-Flat Minor (Op. 1 No. 2) is built upon a simple four-note motif (in regards to scale degrees, the motif follows the pattern of 1-7-2-1). To note - this piece never resolves to the traditional E-Flat minor triad. Lastly, Tribute in D major (Op. 1 No. 3), similar to the other two pieces (of the Op. 1 set), uses multiple forms of extended harmonies through chords and arpeggios, such as add9 and dominant thirteenth harmony.
$1.99 1.85 € #Piano solo #Eamon Mukhopadhyay #3 Pieces for the Piano - Opus 1 #Eamon Mukhopadhyay #SheetMusicPlus

Woodwind Ensemble,Woodwind Quartet - Level 5 - Digital Download SKU: A0.912906 Composed by Brandon Nelson. Concert,Contemporary. 93 pages. Brandon Nelson #1954835. Published by Brandon Nelson (A0.912906). Imagine the terrifying prospect of having your fate-indeed, the fate of the entire universe-decided by the fickle whims of seven gods! This was life for all those who dwelled in the ancient society of Sumeria! They Who Decide Fate paints the picture of what living with these gods might have been like for those pitiable mortals. The introduction builds to the dreadful fate theme, which is woven within the rest of the piece. In the first episode, the Eb clarinet is highlighted depicting Enki, the magical, clever Lord of the Earth. Crafty and mischievous, one would not cross this god, so mighty he was said to have created the Tigris and Euphrates rivers between which the entire Sumerian world existed! The full orchestra comes roaring back to represent Shamash, the Lion of Justice. Bringing wrongdoers their just due, he could also be merciful, curing the faithful sick who plead for his mercy. The second episode is gently ushered in by the Basset horn. Featured here is Ninhursag, the mild, nurturing Mother Goddess. It was said that any couple who desired to be fertile would do well to propitiate themselves to herâ?¦ An explosive, percussive jolt fanfares in Inanna, wild, untamed Goddess of Primal Passions! Whether in war or in lust, Inanna stood for all things raw-and ultimately destructive! The low, rumbling voice of the contralto clarinet brings us Anu, Father of the Gods. Ancient and wise, Anu is the manifestation of the heavenly vault. Nanna, the moon god riding on the back of a bull, illuminated the night sky. Sparkling and light colors of the orchestra depict his deft, spry nocturnal motions. The sinuous lines of the Bb clarinet illustrate Enlil, fickle God of Wind and Weather. It is said that it was he who created humans, but lost interest in them and flooded the whole earth. The whole clarinet quartet reprises the fate theme one last time, ending in an exultant flurry, reflecting both the fear and ecstasy that these seven gods inspired in their mortal charges. Learn more about me: bnelsonmusic.wordpress.com.

Easy Piano - Level 1 - Digital Download SKU: A0.1349167 Composed by Alan Menken and Howard Ashman. Arranged by Catherine Wilson. 20th Century,Broadway,Children,Film/TV,Instructional,Musical/Show. Score. 5 pages. Catherine Wilson #933907. Published by Catherine Wilson (A0.1349167). Under the Sea from The Little Mermaid is part of a series of Disney piano solo arrangements for late beginner / grade 1. Â Everyone can benefit by learning pieces they recognise, but in the early stages of learning, this can sometimes prove to be a challenge too far. Â If the piece is too far outside the ability level of the student, frustration and self-doubt can creep in.The arrangements in this series concentrate on building connections between how the music looks, how it feels, and what it sounds like.Â To simplify learning, the arrangements are notated at half speed (where needed), do not require any use of sharps or flats, and are harmonised using a 5 - note hand position in the left hand.Short introductions have been added to highlight the hand position changes used in the song. Â These give students the opportunity to build their confidence by navigating the changes of hand positions before encountering them in the recognisable part of the song.Catherine lives in a small rural village in Shropshire, England and has over 25 years experience teaching piano. Since completing her Masterâ€™s Degree, specialising in composition, Catherine enjoys arranging existing melodies with pianistic accompaniments that focus on furthering technique as well as providing an opportunity to enjoy performing recognisable pieces.Please check out Catherineâ€™s other arrangements and original compositions here:Â www.catherinewilsonmusic.comhttps://www.sheetmusicplus.com/en/category/arrangeme/224/catherine-wilson/.

Easy Piano - Level 1 - Digital Download SKU: A0.1349152 Composed by Alan Menken and Stephen Schwartz. Arranged by Catherine Wilson. 20th Century,Broadway,Children,Film/TV,Instructional,Musical/Show. Score. 5 pages. Catherine Wilson #933892. Published by Catherine Wilson (A0.1349152). Just Around the Riverbend from Pocahontas is part of a series of Disney piano solo arrangements for late beginner / grade 1. Â Everyone can benefit by learning pieces they recognise, but in the early stages of learning, this can sometimes prove to be a challenge too far. Â If the piece is too far outside the ability level of the student, frustration and self-doubt can creep in.The arrangements in this series concentrate on building connections between how the music looks, how it feels, and what it sounds like.Â To simplify learning, the arrangements are notated at half speed (where needed), do not require any use of sharps or flats, and are harmonised using a 5 - note hand position in the left hand.Short introductions have been added to highlight the hand position changes used in the song. Â These give students the opportunity to build their confidence by navigating the changes of hand positions before encountering them in the recognisable part of the song.Catherine lives in a small rural village in Shropshire, England and has over 25 years experience teaching piano. Since completing her Masterâ€™s Degree, specialising in composition, Catherine enjoys arranging existing melodies with pianistic accompaniments that focus on furthering technique as well as providing an opportunity to enjoy performing recognisable pieces.Please check out Catherineâ€™s other arrangements and original compositions here:Â www.catherinewilsonmusic.comhttps://www.sheetmusicplus.com/en/category/arrangeme/224/catherine-wilson/.

Easy Piano - Level 1 - Digital Download SKU: A0.1349151 By Michael Bolton. By Alan Menken and David Zippel. Arranged by Catherine Wilson. 20th Century,Broadway,Film/TV,Instructional,Musical/Show. Score. 5 pages. Catherine Wilson #933891. Published by Catherine Wilson (A0.1349151). Go the Distance from Hercules is part of a series of Disney piano solo arrangements for late beginner / grade 1. Â Everyone can benefit by learning pieces they recognise, but in the early stages of learning, this can sometimes prove to be a challenge too far. Â If the piece is too far outside the ability level of the student, frustration and self-doubt can creep in.The arrangements in this series concentrate on building connections between how the music looks, how it feels, and what it sounds like.Â To simplify learning, the arrangements are notated at half speed (where needed), do not require any use of sharps or flats, and are harmonised using a 5 - note hand position in the left hand.Short introductions have been added to highlight the hand position changes used in the song. Â These give students the opportunity to build their confidence by navigating the changes of hand positions before encountering them in the recognisable part of the song.Catherine lives in a small rural village in Shropshire, England and has over 25 years experience teaching piano. Since completing her Masterâ€™s Degree, specialising in composition, Catherine enjoys arranging existing melodies with pianistic accompaniments that focus on furthering technique as well as providing an opportunity to enjoy performing recognisable pieces.Please check out Catherineâ€™s other arrangements and original compositions here:Â www.catherinewilsonmusic.comhttps://www.sheetmusicplus.com/en/category/arrangeme/224/catherine-wilson/.

Easy Guitar (with TAB) - Level 1 - Digital Download SKU: A0.1047465 By Dan Jones (www.danjonesguitarist.com). By Dan Jones. Blues,Folk,Rock. Tablature. 5 pages. DanJonesGuitarist #652027. Published by DanJonesGuitarist (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 Iâ€™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, Iâ€™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 â€˜thinking timeâ€™ 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.

Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1044425 By Lisa Waites. By Lisa Waites. Arranged by Lisa Waites. Folk,Holiday,Multicultural,Praise & Worship,Sacred,World. Score. 2 pages. Servant Song Music and Ministry #649158. Published by Servant Song Music and Ministry (A0.1044425). I wrote this reconciliation hymn back in 2016, when elders from the Blood Tribe, Metis, Piikani, and Siksika nations of Southern Alberta led the Reconciliation Week events at Medicine Hat College, in Medicine Hat, Alberta. They invited me to write and teach this hymn as part of the sessions at MHC, where I was (then) the ecumenical Chaplain. It has been an honour to participate in this annual tradition of indigenous leaders sharing their distinctive cultural practices, traditions, and values with the public in Medicine Hat (and the surrounding communities) for a decade, now. During the session I was asked to assist with, the Elders were sharing the Seven Grandfathers' Teachings, and so I included these core values into the lyrics of the hymn. The work in Medicine Hat started with expressions of lament and support from a group of local churches and the Medicine Hat College Chaplaincy program while the Truth and Reconciliation Commission was crossing the country. We quickly realized that many non-indigenous Canadians genuinely wanted to learn more about their First Nations, Metis, and Inuit neighbours. Seeing an urgent need for greater awareness about the intergenerational damage that was done by the Indian Residential School system here in Canada, and also identifying these Reconciliation events as a way to decrease racist stereotypes and assumptions about indigenous peoples, we decided to continue offering an annual reconciliation session, which grew, year by year. A decade later, I'm delighted to have seen deeper, healthier relationships being built between indigenous and non-indigenous people. Musically, this hymn loosely imitates the style of the French Canadian Voyageurs, the folk melodies of the 18th and 19th centuries. The lyrics incorporate the Seven Grandfathers' Teachings. This core ethical framework has many different versions, but many First Nations communities have adopted these teachings in some form. (I've heard Elders say that Respect must come first, because it is the foundation that we build on, but for this particular group at Medicine Hat College, Humility was first on the list). I have Metis ancestry myself, and as an adult, I have researched the long-hidden genealogical and cultural treasures of my family tree. Whether you are an indigenous person looking to support other indigenous Christian composers, or whether you are a non-indigenous person who is trying to broaden the repertoire of your congregation, We Must Learn to Walk Together is an upbeat, hope-filled hymn that sings about reconciliation as if it is not only possible in the distant future - but also achievable today, using the concrete steps suggested by the lyrics. The indigenous wisdom of the Seven Grandfathers' Teachings lines up beautifully with the teachings of Christ. Musically, this hymn is highly accessible for congregational singing; the range is moderate and the rhythms provide musical interest without becoming overly complex; to hear the guitar version and melody line of the hymn being played and sung by the composer, please go to the following YouTube link: https://youtu.be/3DpkFCLxgEs. The musical format of the hymn alternates between the chorus and three verses. The piece takes roughly 3:30 to perform. This hymn has been transcribed in the key of C Major, so it is as easy as possible for church accompanists to play and for congregations to sing; guitarists are invited to play in the key of A Major and simply capo 3. Guitar chords are included. I hope and pray that this hymn for reconciliation will help you, your congregation, and the wider community to think about, pray for, and enact the calls to action of the Canadian Truth and Reconciliation Commission in new and deeper ways this year.

Choral Choir,Choral (SATB divisi) - Level 4 - Digital Download SKU: A0.1308788 Composed by Charles Tenet. Arranged by Tobi Crawford. Jazz. 11 pages. Tobi Crawford #898034. Published by Tobi Crawford (A0.1308788). *Purchase 10 copies to perform this piece with your ensemble of any size*Purchase the instrumental pack (bass and drum part) here: https://www.sheetmusicplus.com/en/product/beyond-the-sea-instrumental-pack-only-22605052.htmlThis arrangement came to me over a number of weeks in a very organic way that began with the ostinato piano figure that prevails throughout the piece. I began playing it unattached to any tune and I just liked the way the line descended in the left hand and how I had to find voicings in the right hand that made harmonic sense â€“ like a puzzle. As I was playing around with this puzzle, thoughts of my father were swirling around in my head â€“ I was at the end of a 4 year period of separation from my parents owing to the fact that Iâ€™m a Canadian expat living in the US and the borders were closed for a long time because of Covid, and then I had work visa issues and my parents were getting older before my eyes. They were also losing friends to cancer and other ailments and my dad, in particular, had experienced the loss of many close family members and friends during our separation and it was taking a toll.Â One day I sat down and played the now familiar-to-me ostinato but randomly I started to sing â€œBeyond the Seaâ€ over it and it fit perfectly. I thought it a happy coincidence. As the days went on I committed to putting my ostinato with Beyond the Sea and the lyrics started to seep into my brain. I have, of course, heard these lyrics many times before, (who hasnâ€™t seen Finding Nemo?) but the lyrics didnâ€™t mean what I thought they meantâ€¦ Theyâ€™re NOT about the ocean, they are about my dad!!! Well, kind ofâ€¦ I realized, through careful reflection and by slowing the words down, that the lyrics are talking about a person in heaven who is patiently waiting for their partner to join them.Â Somewhere beyond the seaSheâ€™s there watching for meâ€¦Itâ€™s far beyond the starsItâ€™s near beyond the moonÂ And the lyrics end with them meeting, â€œWeâ€™ll meet beyond the shore, weâ€™ll kiss just like before,â€ and the song ends with: â€œand never again Iâ€™ll go sailing.â€ Itâ€™s like the big bang went off in my head about why all these thoughts of my dad, and his friends, and this arrangement, and what it all meant suddenly just MADE SENSE and I was able to start formulating a plan.Â Performance Suggestions:Â The improvisation solo in the middle should be free of any traditional â€œscat syllablesâ€ and should be more of a lament. Listen to singers like Aubrey Johnson improvise on ballads for inspiration. An idea for that improv section might be to have a male singer start the improv, then a female singer joins (as if together in heaven) then they sing letter F together (warning: will cause tearsâ€¦). All solo sections do not have to be sung as written â€“ soloists can take liberties with the melody as the spirit moves.