Imagine Ssa

SKU: HL.125418

UPC: 884088990206. 6.75x10.5 inches. John Jacobson/Audrey Snyder.

Treble choirs in middle school and children's choirs will develop important choral skills with this charming original work that imagines the light, warmth and color of spring within winter's cold and dark embrace. Lyrical and expressive, this is a perfect selection for contest or festival!

SKU: HL.362575

ISBN 9781705131022. UPC: 840126954432. 9.0x12.0x0.349 inches.

Play 25 uplifting and musically satisfying arrangements at an easy level. These simplified presentations include melody, original harmonies with chord labels, easy-to-read rhythms, and lyrics – everything you need to enjoy playing your favorite songs right away. Includes: Beautiful Day • Circle of Life • Don't Stop Believin' • Hallelujah • Hero • Imagine • One Moment in Time • Stronger (What Doesn't Kill You) • True Colors • Walking on Sunshine • The Wind Beneath My Wings • You Raise Me Up • and more.

SKU: IG.PFF202

9 x 12 inches.

A collection of two short evocative movements for solo piano.

SKU: IG.CMF191

9 x 12 inches.

Puck's Game is inspired by the actions of Shakespeare's mischievous sprite, Puck, the fairly-like jester from A Midsummer Night's Dream. The music reflects Puck's playful and restless nature through leaping gestures, frolicking motives and restless rhythmical figures. While there is a moment in the work when Puck exudes a more tender side, his truly impish nature quickly returns at the conclusion of the piece.

SKU: IG.PMS121

9 x 12 in inches.

Innocence is available for either piano solo or piano and chamber accompaniment (flute, clarinet, first and second violins, viola and cello). It is a good learning tool for aspiring musicians at or above a beginner's level.

Technically , the piece contains several tertian harmonies and simple flares of credenza-like complexities. The form is a through composed inspiration that later becomes more refined in terms of symmetry and balance. Less technically described, Innocence was written to demonstrate the differences and the compatibility between traditional and untraditional harmonic development. Students will or should recognize the two different approaches.

In the most traditional approach, the listener is typically able to predict how the melody will unfold. It is like a journey down a road where the passengers can see all the straight-aways and turns ahead. Innocence , however, while never discarding or disrespecting musical grammar, is occasionally innocently twisted to hijack the listener into gently surprising and unanticipated turns. It is a good learning tool to point out the different approaches to composition. It is also simply a fun and entertaining piece in and of itself.

SKU: IG.IMF1824

9 x 12 inches.

Written for my first doctoral recital, Celestial Harmonies was a fun exercise in experimentation. I approached another graduate student, Allen Morris, about taking high quality photographs of each of the constellations, which he did between Thanksgiving and New Year's Eve in 2013. Upon receiving these photographs, I had staff paper printed on transparency paper and placed the constellation photos beneath the transparency paper and traced out the constellations on the staff paper. These became the introductory sketches for this new string quartet. Like a solitary photographer gazing up at the night sky, the music is quiet and intimate, but reflects the drama and wonderment of this wonderous phenomenon.

SKU: IG.PFS201

9 x 12 inches.

My first piano sonata was started when I was in college, but was recently revised. The main key is B-flat Major, with the first theme of the first movement being a fanfare. The second theme is more lyrical in nature, in D-flat Major. After an exposition repeat, the development deals mostly with the fanfare material. The recapitulation is by-the-book, with a sudden, surprising coda. The slow movement, placed second, has the character of a chaconne, using two different major scales in the treble and bass clefs. The tempo quickens to a dance, and an explosive climax. From out of the ashes comes the beginning of the piece, modified from it's original state. The scherzo played rather fast, mostly in octaves. There is a short trio which was influenced by Prokofiev's Fifth symphony. After the dacapo, the movement disappears into thin air. The last movement is a Rondo. The material for the A section is taken from the opening measures of the piece. The B and C sections are developments of the other themes of the first movement. The sonata ends with much finality.