You may notice that our My Takes menu options have changed slightly, but you can still delete, download (previously “save”), and submit. The new Save button will save the take that you select to the Gradebook without submitting so that you can come back to it later. 

Here’s what happens when you select the new Save button:

When you return to the piece to practice later, you’ll see a reminder at the top of your saved take score to reference:

Selecting the icon next to the Currently Saved score will take you to the Gradebook where you can listen to your previously saved take. When more takes are recorded, saving a new take will override the previously saved one.

It’s important to note that a saved take is not a submitted assignment and that teachers cannot see what students have saved, only what they have submitted.

This exciting new feature will encourage students to continue to practice in the days leading up to assignment due dates—they can continue to work on beating their highest score!

Read more about the technical details of this user-requested feature in this Save a Take knowledge base article.

The post Feature Update – Save a Take appeared first on MakeMusic.

Browse below to discover new favorites among the continuous new repertoire included with your regular subscription. New works for concert band, string orchestra, jazz ensemble, choir, and solos for any instrument or voice are included in this month’s new interactive music ready to assign, practice, and record in MakeMusic Cloud.

Highlights include concert band works by Tyler S. Grant, Robert W. Smith, and Randall D. Standridge; string orchestra works by Brian Balmages, Carrie Lane Gruselle, and Chris Thomas; jazz charts by Rick Hirsch; and choir publications by Robert T. Gibson and PinkZebra.

Also included are classical solos from Bach, Saint-Saëns, Schubert, and many more.

Movie and pop highlights include music from Kelly Clarkson, Elf, Harry Potter and the Sorcerer’s Stone, George Michael, Panic! at the Disco, The Polar Express, and Taylor Swift.

Click to view this month’s new interactive repertoire in the shareable playlists below.

New Ensemble Repertoire Includes

33 new solos
31 new concert band titles
10 new titles for string orchestra
5 new publications for small ensembles
3 new choir titles
1 new jazz ensemble chart

CONCERT BAND
	TITLE	COMPOSER / ARRANGER	PUBLISHER	LEVEL
	Apollo Fanfare	Robert W. Smith	Alfred Music	Beginning
	Attack Of The Garden Gnomes	Timothy Loest	FJH Music Company	Beginning
	Conquest	Brian Balmages	FJH Music Company	Beginning
	Creatures In The Attic	Brian Balmages	FJH Music Company	Beginning
	Diary Of A Grumpy Elf	Timothy Loest	FJH Music Company	Beginning
	Creepy Crawlies	Michael Story	Alfred Music	Very Easy
	Dark Adventure	Ralph Ford	Alfred Music	Very Easy
	Downtown Strut	Tyler S. Grant	Tyler S. Grant Music Works	Very Easy
	High Hopes	Panic! at the Disco; Doug Adams	Alfred Music	Very Easy
	It’s Raining Tacos	Parry Gripp; Patrick Roszell	Alfred Music	Very Easy
	Shadow Fire	Randall D. Standridge	Randall Standridge Music LLC	Very Easy
	Tadpoles	Randall D. Standridge	Randall Standridge Music LLC	Very Easy
	Walk Like a Spartan	William Palange	Alfred Music	Very Easy
	…music speaks	Randall D. Standridge	Randall Standridge Music LLC	Medium Easy
	Extremis	Randall D. Standridge	FJH Music Company	Medium Easy
	Last Christmas	Chris Bernotas; George Michael	Alfred Music	Medium Easy
	River Valley Overture	Randall D. Standridge	Randall Standridge Music LLC	Medium Easy
	Sleigh Ride	Leroy Anderson; Michael Story	Alfred Music	Medium Easy
	Apex Predator	Michael Oare	Hal Leonard	Easy
	Fanfare for the Gold	Tyler S. Grant	Tyler S. Grant Music Works	Easy
	Fragile	Randall D. Standridge	Randall Standridge Music LLC	Easy
	Magic Sevens	Richard Saucedo	Hal Leonard	Easy
	Now & Forever (March)	Tyler S. Grant	Tyler S. Grant Music Works	Easy
	Santa the Barbarian and the Pirates of the North Pole	Randall D. Standridge	Randall Standridge Music LLC	Easy
	The First Day of Summer	Jorge L. Vargas	Randall Standridge Music LLC	Easy
	A Carmen Christmas	Georges Bizet; Randall D. Standridge	FJH Music Company	Medium
	Choose Joy	Randall D. Standridge	Randall Standridge Music LLC	Medium
	Forever Joyful!	Brian Balmages	FJH Music Company	Medium
	Into The Arctic	Brian Balmages	FJH Music Company	Medium
	Celtic Carol	Robert W. Smith	Alfred Music	Medium Advanced
	Concert Suite from The Polar Express	Alan Silvestri; Glen Ballard; Jerry Brubaker	Alfred Music	Medium Advanced
STRING ORCHESTRA
	TITLE	COMPOSER / ARRANGER	PUBLISHER	LEVEL
	Festive Foundations (String Orchestra)	John Debney	Alfred Music	Very Easy
	Impulse	Brian Balmages	FJH Music Company	Beginning
	Downtown Strut (Orchestra Version)	Tyler S. Grant	Tyler S. Grant Music Works	Very Easy
	Gap Of Dunloe	Chris Thomas	FJH Music Company	Very Easy
	Creatures	Brian Balmages	FJH Music Company	Medium Easy
	Last Christmas	Chris Bernotas; George Michael	Alfred Music	Medium Easy
	Storm	Soon Hee Newbold	FJH Music Company	Easy
	Mambo	Leonard Bernstein; Robert Longfield	Hal Leonard	Medium
	Themes From The Nutcracker	Carrie Lane Gruselle; Piotr Tchaikovsky	FJH Music Company	Medium
	Panoramic Landscapes (Orchestra Version)	Tyler S. Grant	Tyler S. Grant Music Works	Medium Advanced
JAZZ ENSEMBLE
	TITLE	COMPOSER / ARRANGER	PUBLISHER	LEVEL
	Clambake	Rick Hirsch	HirschMusic Publications	Medium Advanced
SMALL ENSEMBLE
	God Rest Ye Merry, Hepcats	Rick Hirsch	HirschMusic Publications	Medium
	Motherless Child	Rick Hirsch	HirschMusic Publications	Medium
	Swing Low, Sweet Chariot	Rick Hirsch	HirschMusic Publications	Medium
	Let My People Go	Afro-Semitic Traditional; Rick Hirsch	HirschMusic Publications	Medium Advanced
	Wade in the Water	Afro-American Spiritual; Rick Hirsch	HirschMusic Publications	Medium Advanced
CHOIR
	TITLE	COMPOSER / ARRANGER	PUBLISHER	LEVEL
	Winter Lullaby (SATB)	Pinkzebra	Pinkzebra Music, LLC	Medium Easy
	Thixo Onothando	Michael Barrett; Traditional isiXhosa	GIA Publications Inc
	We Shall Overcome	Robert T. Gibson	GIA Publications Inc
SOLOS
	TITLE	COMPOSER / ARRANGER	PUBLISHER	LEVEL
	Bad Liar (Imagine Dragons)	Aja Volkman; Benjamin McKee; Daniel Reynolds; Daniel Platzman; Jorgen Odegard; Wayne Sermon	Alfred Music	Medium Easy
	Bad Liar (Imagine Dragons) (Vocal)	Aja Volkman; Benjamin McKee; Daniel Reynolds; Daniel Platzman; Jorgen Odegard; Wayne Sermon	Alfred Music	Medium Easy
	Buddy at Work (from Elf)	John Debney	Alfred Music	Medium Easy
	Christmas Morning (from Harry Potter and the Sorcerer’s Stone)	John Williams	Alfred Music	Medium Easy
	Christmas Vacation (from National Lampoon’s Christmas Vacation, Mavis Staples)	Barry Mann; Cynthia Weil	Alfred Music	Medium Easy
	Christmas Vacation (from National Lampoon’s Christmas Vacation, Mavis Staples) (Vocal)	Barry Mann; Cynthia Weil	Alfred Music	Medium Easy
	Elf (Main Title)	John Debney	Alfred Music	Medium Easy
	Elf Dancing (from Elf)	John Debney	Alfred Music	Medium Easy
	Faith (George Michael)	George Michael	Alfred Music	Medium Easy
	Faith (George Michael) (Vocal)	George Michael	Alfred Music	Medium Easy
	Hagrid’s Christmas Tree (from Harry Potter and the Sorcerer’s Stone)	John Williams	Alfred Music	Medium Easy
	Here Comes Santa Claus (Gene Autry)	Gene Autry; Oakley Haldeman	Alfred Music	Medium Easy
	Here Comes Santa Claus (Gene Autry) (Vocal)	Gene Autry; Oakley Haldeman	Alfred Music	Medium Easy
	Main Title (from The Polar Express)	Alan Silvestri; Glen Ballard	Alfred Music	Medium Easy
	My Grown-Up Christmas List (Kelly Clarkson)	David Foster; Linda Thompson Jenner	Alfred Music	Medium Easy
	My Grown-Up Christmas List (Kelly Clarkson) (Vocal)	David Foster; Linda Thompson Jenner	Alfred Music	Medium Easy
	Say Don’t Go (Taylor’s Version) (from The Vault) (1989)	Diane Warren; Taylor Swift	Alfred Music	Medium Easy
	Say Don’t Go (Taylor’s Version) (from The Vault) (1989) (Vocal)	Diane Warren; Taylor Swift	Alfred Music	Medium Easy
	The Polar Express (from The Polar Express)	Alan Silvestri; Glen Ballard	Alfred Music	Medium Easy
	We Are Family (Sister Sledge)	Bernard Edwards; Nile Rodgers	Alfred Music	Medium Easy
	We Are Family (Sister Sledge) (Vocal)	Bernard Edwards; Nile Rodgers	Alfred Music	Medium Easy
	Chamber Concerto for Viola and Strings	Antonio Vivaldi; Lynne Latham	Southern Music Company	Medium
	Air Varie in G major op. 23 no. 3 part I – IV	Oskar Rieding	Rubato
	Clarinet Sonata	Camille Saint-Saëns	Popscord Makednija Doo Skopje
	Concertino in A minor Op. 46 No. 3, Part I – III	Julius Klengel	Rubato
	Concertino in D major Part I – III	J.B. Breval	Rubato
	Concerto in B flat major, Part I – III	L. Boccherini	Rubato
	Fantasy Pieces	Robert Schumann	Popscord Makednija Doo Skopje
	Sonata in G minor, Part I – IV	Henry Eccles	Rubato
	Sonata No. 3 in G major, Part I – III	L. Boccherini	Rubato
	Suite	Henry Purcell	Popscord Makednija Doo Skopje
	Suite No. 2 BWV 1067 in B minor Part IV – VII	Johann Sebastian Bach	Rubato
	Swan Song – Serenade (no.4)	Schubert	Popscord Makednija Doo Skopje

MakeMusic Cloud is home to the largest interactive and digital sheet music libraries available, with tens of thousands of titles spanning every instrument, ensemble type, skill level, and genre. Each subscription provides access to every title in our unrivaled repertoire library of music from more than 130 different publishers. Get started by generating a quote.

The post December 2023 Repertoire Update appeared first on MakeMusic.

With multiple instruments to learn and independent parts, integrating the percussion section into full-band music can be a challenge. To ease the transition, we’ve developed a process that has each student master all of the percussion parts before splitting the section onto their individual part assignments.

We are fortunate to have a team teaching schedule and see our middle school band students daily by grade level and instrument sections. However, this process is also adaptable to a mixed instrument class.

Here are the steps we take to introduce beginner percussionists to performing full-band music.

Annotation

All students annotate their music during class time. We guide students through marking in measure numbers, key signatures, time signatures, accidentals, define all musical terms and symbols, and identify any rhythms that students perceive as tricky. We provide a sample and check the student’s music at each step. 

Snare Drum and Bass Drum

We project the music onto a large screen using MakeMusic Cloud while learning together. This lets us ensure everyone is in the right place in the music. We can clarify repeats and other potential road map confusion, and the students can follow the cursor on the screen.

Each percussionist starts on a practice pad learning the snare drum part. We break the music down into chunks at a slow tempo, then start to piece it together while increasing the tempo. Once the entire group can play the snare drum part, we move on to bass drum and follow the same process. We focus on music reading and basic rhythm and will address bass drum technique in a future class.

After that, we split the class and take turns having half play snare drum, while the other half plays the bass drum part. During this entire time, they play along to MakeMusic Cloud’s backing tracks on the screen.

Auxiliary and Mallet Percussion

We follow the same process with auxiliary percussion parts, approximating the motion for the triangle, cymbals, etc., with hands or pads. We play through all of the non-pitched parts, putting 2-3 students on each part, then rotating, but always playing with the entire group.

We move to the mallet parts and will often double or triple up on the xylophone or marimba for the sake of learning the music. We spend a lot of time working in small and slow chunks with MakeMusic Cloud’s looping feature before running the entire selection. The older students will often be assigned tuba, bassoon, and baritone parts to play on marimba to expand their comfort with bass clef and diversify the mallet assignments. 

Part Assignments

After the students can play all the parts in isolation or paired with one other part while following MakeMusic Cloud, we will assign each student a starting instrument. Every time we work on the piece, the students move to the following instrument, rotating in the same order each time to the right or left. This plan may create rehearsals where a student plays a mallet instrument for a few runs, but they are changing instruments. We only place one player on the snare drum, but can include up to two or three others on drum pads if needed. 

A week or two before concerts, we create an assignment chart that we use all year to track part assignments. Students are assigned the part they will play for the performance and have several rehearsals to ensure they are comfortable. We work to ensure students play several different instruments at each performance so no one feels stuck or avoids specific instruments. 

Click here to download our assignment chart template.

Gradually introducing beginner percussionists to full-band music will help set your students and ensemble up for success. The process may take a little more rehearsal time at the start, but it will create musicians who are well-rounded and comfortable on any part put in front of them.

The post Introducing Young Percussionists to Concert Music appeared first on MakeMusic.

1. Assign New Music

Assign new solo and/or ensemble music for the kids to look at and listen to during break. Try to pick the pieces that will generate the most student excitement. Consider making practice time part of a contest, available for extra credit, or making these ungraded assignments so kids who travel are not “punished.” Either way, you can hit the ground running when students return.

Another option is to pick a few potential spring concert or festival pieces for students to select from. Assign them in MakeMusic Cloud, and set up a digital survey that allows students to indicate which piece or pieces they would most like to play. Giving students the power to choose can really impact their level of commitment and help motivate their practice. You can easily find music from your state’s required contest list using our State Lists tool.

2. Make Holiday Music Performance Opportunities Possible

Distribute music or assign a few holiday solos or tunes in MakeMusic Cloud so students can play for loved ones over the break. If performing for others is a required assignment, or an option for extra credit, use the video assignments feature to document their performances. You might also consider holiday-themed performance opportunities around the school, or even elsewhere in the community.

3. Send Instruments to the Shop

If you have school instruments that are in need of repair, send them to the shop. This means less time out of students hands when you come back to school in January.

4. Complete Grading

Get as much grading and paperwork completed as you can before you leave. The very hectic nature of December makes difficult to do, but having nothing over your head during the break will help you to unwind, relax, and regenerate. For the same reasons, if possible, complete the first-week-back lesson plans, too.

5. Calendar/Schedule Work

Have all spring schedules (rehearsals, workshops, performances, etc.) passed out, listed on your website, on Schoology, and posted on school calendars. Even if you distribute a calendar at the beginning of the year, it’s a good idea to do it again – especially if there have been changes.

You might also plan the schedule of before/after school rehearsals prior to leaving for break, and plan your assignment schedule for the next quarter.

6. Student Social Event

Have a social event with students before they leave for winter break.

7. Study Scores

Study scores for the return to school and prep for the concerts and performances that will be on your mind the minute you return.

8. Clean Up

Clean up – and have kids help. Pick up the rehearsal hall, storage rooms, your desk, behind percussion cabinet, inside the percussion cabinet, etc. It will feel so much better starting fresh in January. While you’re at it, collect and file all the music from your winter or holiday concert, too.

9. Review Fall Teacher Evaluations

Go over your fall teacher evaluations. If necessary, have a game plan for improvement, even if that means a sit-down with administrators. The break will give you a relaxed time to reflect.

10. Thank People!

Do something nice for your colleagues. Even a small gesture goes a long way in letting people know you appreciate their help. Consider teachers from all parts of the building and anyone else who helps make your life easier.

Most importantly, acknowledge your custodial staff. These are the people who are always with you on Friday nights after the football game as you sweep the hallway for uniform parts. They’re the folks who help you set up and tear down for every concert, and do so much more. Consider getting them a gift card as a small token of appreciation for all their help throughout the year.

Special thanks to Giovanna Cruz, Michael Gibson, Stephen Goss, Leigh Kallestad, Kevin Mead, Ted Scalzo, Laura Vaughan for contribution ideas for this post.

The post Music Educators: Don’t Leave on Break Before Doing These Things appeared first on MakeMusic.

We all know that the vibrations of the reed against the mouthpiece create the sound on clarinet. Therefore, it follows that anything that stifles the reed’s ability to vibrate will negatively impact sound quality. Thus, everything that we do with the physical set up must maximize the reed’s ability to vibrate. 

Characteristic Clarinet Tone

Fundamentals

It is crucial on clarinet, like all other wind instruments, to teach posture and breathing first, and without the instrument. I utilize words such as natural, balanced, and tension-free in my instruction of posture. When teaching breathing, it’s vital that the inhale is full and relaxed, allowing for expansion around the middle of the body. The exhale consists of a fast, focused, and directional air stream with cold air moving straight forward. As we know, if the posture and air stream are not correct, we will be fighting an uphill battle toward our goal of beautiful tone. 

Embouchure

The clarinet embouchure must be built, so it’s important to teach it in steps. As students are first learning, and throughout their early training, provide frequent verbal prompts and feedback, utilize mirrors, and check your students individually whenever you can. 

I teach clarinet embouchure in three phases with each new phase introduced as the student is ready to handle additional challenge and information. Skipping steps here often results in students who play with a stuffy sound or whose pitch is significantly flat. 

Phase 1: Embouchure Basics

Below you will find the kid-friendly language I use with students to build their embouchures as well as additional explanation for the teacher. 

1.  Pretend you are putting Chapstick on your bottom lip. 

This creates the traditional clarinet embouchure shape that we look for as the lower jaw and teeth move forward to flatten the bottom lip. The lower lip is not a “cushion” and we do not “roll” the bottom lip over the teeth, despite these being common instructions seen in beginning method books. 

Clarinet Embouchure: Bottom Lip

2. Feel for the valley in your chin.

The “valley” is the concave shape of the chin that results from the lower jaw and teeth pressing against the lip. When the “valley” does not exist, this means the student has pulled too much lip into their mouth and/or they have positioned their lower jaw incorrectly which causes the chin to bunch, resulting in the mouthpiece being unsupported.

3. Mark your “spot.” 

If you hold the clarinet mouthpiece sideways up to the light, you can see that the reed does not touch the mouthpiece at the tip. However, as you travel down, there comes a point around ¾ of an inch from the top where the reed and mouthpiece facing are flush. The “spot” is the location where the reed and mouthpiece come together. 

4. Place the reed on your bottom lip at “the spot.”

The spot is also where the mouthpiece should be placed on the lower lip. When students know the location of the spot, they know just how far the mouthpiece needs to be placed in the mouth. 

Mark Your Spot: How Much Mouthpiece to Take In

5. Place your top teeth on the mouthpiece. 

This is the number one error I see in young clarinetists regarding embouchure setup. Some students will attempt to hold the mouthpiece with the lips, rather than anchor it under the top teeth. Perform the “wiggle test” to check for this error by holding onto the bottom of the mouthpiece or barrel and gently wiggling the mouthpiece back and forth. If you are able to wiggle the mouthpiece, the top teeth are not in place. 

Clarinet Embouchure: Top Teeth

6. Hug your lips around the mouthpiece. 

The lips should close around the mouthpiece like a drawstring bag, forming a seal so that the air does not leak out the sides. 

Phase 2: Next Level Embouchure

Once students are consistently demonstrating the basics, begin introducing the following:

• The top teeth and the right thumb support the clarinet, not the lips. Help students accomplish this by having them gently push up with their right thumb (on the thumb rest, if using the entire instrument) toward the top teeth. 

• The mouthpiece should be anchored under the top teeth. If the bottom lip is pushing up to support the mouthpiece, or the reed is pushing down against the bottom lip, then the reed cannot vibrate fully and the sound will be stuffy. 

• The angle of the clarinet is around 35 degrees. An incorrect angle will cause issues with pitch. 

Clarinet Anchor Points (Removing Pressure from the Reed)

Phase 3: Embouchure: Voicing

Voicing refers to the shape and size of the oral cavity, and is controlled by the position of the tongue. To demonstrate voicing to your students, have them whistle a high note and a low note while noticing the change in tongue position. The clarinet has the highest voicing of all woodwinds. The tongue should be arched high near the roof of the mouth as if you are saying “ee,” or hissing like a cat. Voicing errors cause our clarinet students to play flat. You can check voicing by having the students play on mouthpiece and barrel only. The resulting pitch, if voicing is correct, will be a slightly sharp Concert F#.

Clarinet Voicing

Teach Concepts on the Small Instrument

I’m a firm believer in simplifying new skills as they are taught. By teaching all embouchure concepts (even more advanced ones) on the mouthpiece and barrel only, we give students the ability to focus only on embouchure without having to worry about other elements of playing. 

Clarinet Hand Position

Coda

Getting your clarinet students’ embouchures set up in a way that allows strong vibrations of the reed is the basis for developing a vibrant clarinet sound. In my beginning band instruction, we spend at least a semester starting each class with mouthpiece and barrel playing. This is a great way to develop, reinforce, and solidify the fundamental skills necessary for playing. 

Best wishes for many years of successful students!

Explore More Power Up!

The post Power Up! Creating a Resonant Sound: Starting Your Clarinet Students Off Right! appeared first on MakeMusic.

Director: Today I propose to do something for you that none of your other teachers will ever do. I’m prepared to let you decide what we will work on in this class.

Students: [Most showing interest, except for some percussionists who appear to be digging a tunnel.]

Director: Specifically, I will let you choose what we will perform on the next concert.

Having your students program your next concert isn’t as crazy as it might initially sound. Prior to having such a conversation, I searched for music in MakeMusic Cloud and identified a “short list” of pieces that were appropriate, matched the state list for contest (use the State Lists tool to easily find music from your state’s required contest list), had a set theme, etc.

Deliver Your Proposal

Next, I made a pitch like this:

Director: In order for you to receive this honor and responsibility, you will have to listen to every piece on this list. From this list, you must choose two major works, which must be in a contrasting style, and submit a written justification of why you chose these pieces.

How it Worked for Me

I once actually gave my students 36 titles. Really. I assigned all titles to every student in MakeMusic Cloud. And it worked surprisingly well. Here are some of my informal results:

Listening

I was surprised at how many students listened to every title. Many made references to the other titles in their choices, and I overheard them discussing many titles with each other. Students discussed their choices before school and during study halls. Some even skipped lunch to sit together and listen to (and discuss) the pieces.

This not only happened in the school building but also on social media. Students bargained with each other: “You vote for mine, and I’ll choose yours.”

Taking the easy way out – or not

The pieces that received the most votes were not the easiest titles offered. In fact, students choose the two most demanding pieces on the list.

Justification

Students demonstrated very high levels of learning and understanding about the works they chose. They provided specific references to sections in each piece and anticipated audience appeal. They discussed the value to both themselves and the ensemble. They identified the challenges in each piece and where they occurred. Many even made reference to the value certain pieces offered for other sections of the band.

Student Exploration

The student comments also demonstrated that they had tried to perform several of the works they were considering with the MakeMusic Cloud accompaniment. Students loved being able to do this. Image if you, as a student, could have taken prospective concert pieces for a test ride AND being able to vote for your favorite! (How could that have even been accomplished in pre-MakeMusic Cloud days?)

Grading and Beyond

This assignment was required; every student had to hand it in. I gave every student who submitted the assignment a 100. This exploration was meant to give students a relatively quick, intense introduction to some of the great literature and an opportunity to listen to what a good band or wind ensemble sounds like.

Our first rehearsal after the marching season was amazing. It was as if a switch had been flipped. The energy from that moment on was intense and ever-increasing until the moment I left the classroom.

Students are capable of so much if we simply give them the chance.

The post What If Students Programmed Your Next Concert? appeared first on MakeMusic.

At MakeMusic and Alfred Music, we’re calling this approach a Phygital Music Classroom. And while it’s a fun play on words, the philosophy is based on the belief that we can help more students experience the joy of making music if we can make the learning and practicing process fun and more meaningful. Before we get to the joy of making music, let’s define phygital.

phys·i·cal + dig·i·tal = phyg·i·tal

/ˈfijidl/

adjective

1. (physical plus digital) is the blending of physical books and sheet music with digital experiences to create a more powerful learning experience.

Leveraging the benefits of traditional physical books and sheet music with the advantages of digital technology truly combines the best of both worlds, creating a more powerful music learning environment. A Phygital music classroom offers students a more dynamic and enriched learning experience while preparing them for a world where technology plays an increasingly significant role in music creation and performance. Imagine kids being able to go deeper into the music they are playing. Imagine an opportunity where a student can experience their ensemble music in a completely new way. Imagine a world where the movie soundtracks of our lives become key motivators to solving one of our most basic wants – “I wish my kids would practice more.”

Well, we don’t have to imagine. That reality is here, in the form of a Phygital approach. Let’s look at six ways a Phygital approach can benefit the students in your classrooms by unlocking new experiences, challenging students in new ways, and reigniting a sense of joy for both practice and performance.

1. Enhanced Engagement:  By combining physical sheet music with digital tools, students can dive into an interactive world of music education. This immersive approach not only engages them but also enhances the learning experience, blending multimedia resources for a more enjoyable journey. 
2. Accessibility and Convenience: Digital tools are particularly useful due to their convenience and flexibility. With these tools, students can easily reach learning materials at their fingertips, whether they’re in the classroom, at home, or on the go, needing only a compatible device and an internet connection.
3. Multi-Sensory Learning: Combining a digital tool with physical sheet music transforms learning by engaging students through various senses. They’re not only reading the text but also listening to audio examples, watching instructional videos, and actively participating in interactive exercises, creating a multi-dimensional learning experience.
4. Differentiated Learning: Frequently, digital tools come with personalized learning capabilities that cater to individual student abilities and learning speeds. They offer customized practice exercises, track progress, and provide feedback, empowering students to learn at their own cadenceand concentrate on areas needing extra attention.
5. Expanded Repertoire: Pairing your physical music library with a digital catalog opens up boundless opportunities for students to uncover and delve into new music. They have the chance to venture into uncharted musical genres, discover fresh compositions by beloved composers, and even contribute to curating their dream concert lineup.
6. Creation and Collaboration Opportunities: Incorporating technology can unite students through composition, diverse musical styles, and shared interests. It opens up limitless opportunities for students to channel their creativity, foster a sense of community, and encourage students to learn from and support each other.

When I joined Alfred Music and MakeMusic over a year ago, I shared that a key reason was because I saw the musical world accelerating toward a digital ecosystem. I wanted to be part of that journey, and wanted to be able to engage in meaningful conversations about how the digital world can positively impact the music community. The truth is that an all-digital approach is not the answer. As someone who experiences the sheer joy of stepping on a podium in a physical space with a physical score, I appreciate the ability to feel the music under my fingers. But I am also equally excited about the digital tools we are developing, which are just a click away from unlocking new, exciting experiences for our students. Physical + digital doesn’t just mean Phygital – it means joy. Phygital solutions seamlessly blend these physical and digital resources, providing an elevated learning experience and a more comprehensive and well-rounded music education. Who says the world is at your fingertips? Why not have both worlds at your fingertips?!

Want to try out the Phygital approach with your students? Start a free 30-day trial here, or request a demo with one of our specialists today!

Interested in learning more? For those attending the Midwest Clinic, come see Brian Balmages present all about the Phygital Musician. THURSDAY, DECEMBER 21st at 1:00pm in Room W180.

The post The Phygital Approach: How Blending Print and Technology Can Unlock New Potential in Music Education appeared first on MakeMusic.

Sight reading is an important skill every musician comes across on their path to becoming a proficient musician—a skill that sets the stage for spontaneous and delightful musical experiences. A common misconception in the online world of music learners is the difference between true sight reading and learning a piece to completion. In today’s post, we’ll distinguish between learning a piece and sight reading but also delve into the common mistakes made during sight reading and the often overlooked, hidden benefits it offers. You’ll walk away with some concrete tips and tricks that you can use to improve your sight reading practice starting today. 

Learning a Piece vs. Sight Reading

Learning a piece of music involves a dedicated, focused effort over a period of time, encompassing challenging pieces. The goal is to play the music accurately and musically from start to finish. It’s a gradual process that requires patience, persistence, and an understanding of the musical intricacies. While technically the first time the piece is played would be considered sight reading, anything beyond that would be considered practicing and would not fall under the definition of sight reading anymore. 

True sight reading is the art of playing a piece accurately and musically on the very first try. Typically, sight reading is practiced with shorter, simpler pieces in a progression that makes sense for the skill-level of the player. The objective here is to read and perform the piece as precisely as possible without any prior practice. Sight reading hones skills such as quick decision-making, pattern recognition, and adaptability—attributes that are essential for any proficient musician.

Common Sight Reading Mistakes

1. Tackling Overly Difficult Pieces

One of the most common mistakes made in sight reading is attempting pieces that are too complex. When faced with highly intricate compositions, individuals are often unable to recognize complex patterns all at the same time, making the sight reading process cumbersome and ineffective. The goal with true sight reading is to play through the piece as well as possible on the very first try, and this simply isn’t possible if the piece is too difficult. The key to successful sight reading is to choose pieces that are suitable for your skill level, allowing you to read and play without struggling.

2. Rushing and Lack of Focus

Sight reading demands a certain level of patience and focus not only as a practice, but within the tempo of each individual sight reading example as well. Taking the time to analyze the piece, identify patterns, and understand the dynamics can significantly improve the accuracy and musicality of your performance. Picking a comfortable (which often means slow) tempo can make all the difference. Turning on the metronome and forcing a speed that allows for breathing and looking ahead is essential for successful sight reading. 

3. Inadequate Materials

Randomly opening up pieces of music to sight read is not an effective way to make progress with the skill. Effective sight reading requires the appropriate materials and a structured approach which means the pieces need to progress in a linear way. Jumping around to pieces of varying levels will result in a lack of progress and most likely frustration. Utilizing well-organized sight reading materials will enhance your ability to read and interpret music effectively. Ideally these materials are written for the sole purpose of sight reading practice or at the very least, the materials progress in a linear fashion. 

4. Neglecting The Process

Sight reading, like any other skill, benefits from a structured approach. Failing to utilize a proven process for sight reading can impede your ability to tackle pieces efficiently. The Process involves understanding the structure of the piece, recognizing patterns, and making informed choices about things like fingering or phrasing before you start to play. Setting a timer for at least 5 minutes and being a musical detective will do the trick. Take notes on your music by marking in anything that sticks out to you as a pattern, or anything that sticks out to you as a potential trouble spot. A systematic approach ensures a smoother and more successful sight reading experience.

If you’re willing to put in the time and effort required to practice sight reading the correct way, it can benefit you in a myriad of unexpected ways. Not only does practicing sight reading ensure that you become a better sight reader, it also strengthens a variety of skill sets that will serve you greatly on your path to becoming a proficient musician. 

Hidden Benefits of Sight Reading

Regular sight reading sessions can significantly improve your learning speed when tackling new, challenging pieces. By exposing yourself to a variety of musical styles and patterns regularly, you become more adept at quickly deciphering and understanding new compositions. Sight reading encompasses the same skills as learning a new piece, on a smaller level. When practiced regularly, it strengthens the abilities needed to learn any new piece at a higher level. 

Sight reading enhances your inclusive awareness of musical patterns, structures, and rhythmic variations. When you practice playing a piece from beginning to end on a regular basis, you get better at doing this with larger scale pieces as well. Your inclusive awareness allows you to not only stay in the moment and focus on what you are playing, but also to think about what is coming next, and how best to express the piece and handle any unexpected things that come up while you’re playing. 

Regular sight reading practice can help mitigate performance anxiety because you become very comfortable with being uncomfortable. Imagine that you sight read a small piece every day and you focus on playing from beginning to end without stopping, while breathing through the tension and accepting any mistakes that come up and moving on from them. You would become really good at doing this while playing any piece, regardless of level. The more you expose yourself to different musical compositions, the more comfortable and confident you become in performing in various settings, with various unexpected occurrences. 

Tips to Enhance Sight Reading Skills

1. Consistent Practice

Regular, consistent practice is the cornerstone of honing your sight reading skills. Set aside dedicated time in your practice routine to focus on sight reading exercises and pieces. It doesn’t need to be a large chunk of time each day, 5 minutes will often suffice. 

2. Pattern Familiarization

To excel at sight reading, invest time in learning the most common musical patterns and commit them to memory. This knowledge will significantly enhance your ability to recognize and interpret patterns quickly during sight reading sessions. A great way to do this is with flashcards that you can practice for just a minute or two each day to increase your knowledge of the most common musical patterns. 

3. Effective Practice Materials

Select suitable sight reading materials that align with your current skill level. These materials should be well-structured and organized, allowing for a progressive and effective sight reading practice. 

Here are some resources to help you get started:

• Free Class – Speed Reader: Discover the 3 simple steps to increasing your sight reading accuracy so that you can play with more expression and flow, every time.

• Sight Reading Studio: Generate unlimited sight reading exercises using customizable parameters to fit your needs. Practice your generated pieces and receive real-time feedback as you play along.

• Sight Reading Resources from Alfred Music: Find methods and materials for every instrument and skill level to help you practice your sight reading skills.

4. Master The Process

Understand and master a structured sight reading process that incorporates pattern recognition, understanding of musical structures, and effective decision-making. Following a systematic approach will streamline your sight reading practice and improve your performance.

5. Continuous Evaluation and Adjustments

Regularly evaluate your sight reading sessions, identifying areas for improvement. Make necessary adjustments to your practice routine and approach based on these evaluations. Consistent refinement is key to enhancing your sight reading skills over time.

Mastering the art of sight reading is a valuable asset for any musician. By distinguishing between learning a piece and sight reading, understanding the common mistakes, and embracing the hidden benefits, you pave the way for a more enriching musical journey as well as mastery of your instrument. Through consistent practice, focused dedication, and a structured approach, you can unlock the true potential of your music-playing skills.

The post Tips and Tricks to Improve at Sight Reading appeared first on MakeMusic.

As a teacher, one of the hardest concepts to get across to a percussion student is that it takes time and practice to be able to play these instruments correctly.  Because each of these instruments has its own unique set of techniques, true mastery will only be accomplished through the practice of each individual instrument. 

Trap Tables

While a trap table is not a percussion instrument, its value to a percussion section cannot be underestimated.  Most of the instruments mentioned in this article cannot be played properly without the aid of a trap table.  Using the table will decrease, if not eliminate, extraneous noise that can occur when picking up or laying down accessory percussion instruments.  

Never lay any percussion instrument or mallets on the floor!  The less movement the performer has to make, the better.  If the performer has to bend over to pick up an instrument off the floor, it’s easy to lose sight of the conductor and lose their place in the music.  Using a trap table helps to keep the instruments and mallets looking clean and professional. 

Bass Drum

For general playing, tilt the stand slightly to the performer’s left.  The performer plays with the mallet in the right hand and controls the sustain of the note with the left hand.  The bass mallet grip is the same as matched grip: make sure all fingers are curled around the stick and the thumb is placed along the side.  The performer should position himself behind the drum, so that he/she plays with the flat part of the mallet.  This allows the performer to be in a position to muffle the resonating head along with the batter head.  Students often play while standing beside the batter head, facing the drum.  In this position it is difficult for the performer to see the conductor while playing, and the sound will suffer because of the angle of the mallet striking the head.  

Because of the resonance of the concert bass drum, the performer will need to control the length of the notes, so that the ringing of the head does not muddy the sound of the entire ensemble. Since the bass drum is such a resonant instrument, it does allow for expressive phrasing and varied articulation in the playing.  You can change the articulation of the drum by changing the placement of the muffling hand on the drum (edge or toward the center) and by changing how much of the hand is used (fingertips or entire hand).   

Hand/Crash Cymbals

The cymbal strap is held similar to gripping a timpani mallet, French grip. The thumb and first joint of the index finger should form a fulcrum, with the thumb on top and the strap in between.  The strap should be held close to the cymbal bell between the thumb and the first finger, with the remaining fingers wrapping around the strap.  Holding the cymbal close to the bell will help with the control of the cymbal and keep it from flopping around. Pads are not recommended for cymbals in a concert setting because they may dampen the sound of the cymbal.  If you choose to use pads, select the ones made out of thin leather.

Avoid using the grip that is commonly used in marching band where the hands go through the straps, this will dampen the cymbals, thus affecting the sound.  In the concert setting, where there is only one cymbal player, more resonance from the cymbals is needed.  The marching grip is also not conducive to quick changes, where players are moving from one instrument to another. 

Please understand that there is more than one way to perform an acceptable cymbal crash. REMEMBER, what is important is the quality of the sound from the crash.

The crash technique I use is often referred to as the flam technique, because the edge of the cymbals do not hit at the same time.  The bottom edge hits first and rolls quickly through to the top edge.  Students can practice this technique with their hands in front of their body in a V-formation:  the palms hit first, then quickly roll through to the finger tips with a nice fluid follow-through.  

The crash is performed by standing on both feet, approximately a shoulder’s width apart, with one foot slightly forward.  Hold the cymbals at a slight angle, with the right cymbal on top for right-handed players, and the opposite for left-handed players.  Often times young students will play the cymbals too far apart, with too much motion. This will cause the crash to be late within the context of the music.  

When the flam technique is applied to the cymbals, the grace note should be quick and undetectable.  A good cymbal crash must have a good attack, without an air pocket and a good sustain after the attack.  A good sustain can be achieved by continuing the follow-through and holding the cymbals parallel to the floor, this allows more of the cymbal sound to get to the audience. The sound of the cymbal comes off the edge because the vibrations move from the bell out toward the edge.  This is similar to throwing a rock in a pool of water and watching the waves move outward.   

A cymbal cradle or trap table is an invaluable tool when playing hand cymbals.  This gives the cymbal player a place to lay the cymbals other than the floor when not in use.  There is nothing more uncomfortable than holding a pair of cymbals during a musical selection with a long period of rest.  A cradle or trap table may be placed between the performer and the conductor, allowing the performer to keep his/her eyes on the conductor. 

Suspended Cymbal

When playing a roll on the suspended cymbal use a single stroke roll.  The student will also want to use yarn mallets, unless the instructions in the music ask for a different implement such as snare drumsticks or triangle beaters.  Several manufacturers make mallets especially for playing suspended cymbals.  If using marimba mallets, use mallets that are medium to medium-soft.  Place the mallets on the outer edges of the cymbal opposite one another: at 3 and 9 o’clock, approximately 2 inches from the edge.  This hand position allows the cymbal to vibrate quickly and gets the best sound.  Be sure the stand is adjusted to a comfortable height so the cymbal will not be hit accidentally with the shaft of the mallets producing unwanted sounds.  Never play the cymbal with timpani mallets because they usually don’t have the weight needed to produce a good characteristic sound and it will destroy the felt on the mallets.  This was often called for in older compositions before the marimba was a common instrument in the percussion section and marimba mallets were not readily available.  

Because of the cymbal sustain, you don’t need to move your hands very fast for a good sounding roll.  Moving the hands too fast will actually dampen the resonance of the cymbal.  Always listen, trying to produce a nice sustained sound with no attack sound from the mallets.

Tambourine

For concert use, you definitely want a tambourine with a head mounted on it so you can perform the various techniques required in a concert ensemble, such as thumb and finger rolls.  

For most playing, the tambourine should be held with the weaker hand out in front of the body at a 45-degree angle. Hold the tambourine by the frame, fingers wrapped around the frame with the thumb on top for support.  Play with the firm fingertips of the stronger hand a couple of inches from the outer edge.  The performer can change the angle of the tambourine for different articulations, more horizontal for a dryer sound (short jingle sound) and more vertical for a wetter sound (long jingle sound).   

Triangle

The triangle should be held in the weaker of the two hands.  Hold the hand out in front of you, just as you would reach out to turn a doorknob.  Rest the back of the clip-on top of the thumb and the front of the clip on the middle finger, while placing the first finger on top of the clip to help stabilize it.  The ring finger and pinky are now available to aid in muffling the triangle, if needed.

When placing the triangle in the clip, always make sure that the closed side is facing the hand that will be striking it.  Have the closed side of the triangle facing the right, if the right hand will be holding the beater.  The two main areas used to strike the triangle will be the closed side and the bottom.  The closed side produces a purer tone while the bottom produces more overtones.  You will normally want to play on the bottom to produce more overtones.  When playing on the side, the purer tone could actually clash with some of the pitches that are being played in the winds or strings.  The angle at which the beater strikes the triangle can also affect the sound.  A perpendicular strike will create a purer tone, while striking at a 45-degree angle will produce more overtones.  

Always hold the triangle up in front of you to aid in projection of the sound to the audience.   When holding the triangle up, position your body so the conductor is in the same sight line as the triangle and the music.  Once the triangle is struck, continue to hold it up for the entire duration of the sustaining sound.  Often players will strike the triangle and immediately drop it down creating a type of Doppler effect for the audience.

Woodblock

When playing the woodblock use a rubber keyboard mallet that is softer than the wood. A rubber mallet will get the fullest sound from the woodblock and will not damage the instrument. Keep in mind that a smaller block may need a harder mallet than a larger woodblock.  Using a drumstick produces a thin sound and the small hard bead of the drumstick can dent the top of the block.  Eventually the block will start to splinter because of the indentions.  The plastic blocks can be played with a drumstick without worry.  There are manufacturers that make mallets specifically for woodblocks.  These mallets are sold in pairs, sound great on the blocks and won’t damage them.

Whenever possible hold the woodblock at chest level in one hand, and play it with the other.  This helps the sound to project over the band and gets the block up so the audience can see it.  When holding it up, point the opening in the block towards the audience for better projection.  Experiment with different playing areas on the block until you find the “sweet spot”.  This is the area on the block where you get the most resonance.  This spot will usually be toward the center of the block. 

If the rhythms are too complex to play with one hand, set the block down and use two hands with identical mallets.  Use a trap table that is padded or a sturdy music stand with a black hand towel over it.  Making sure the table is lightly padded will eliminate extraneous sounds when playing.

Each of these instruments could be a complete article by itself, but hopefully the information above will get you and your students started in the right direction.  When played correctly all of these instruments can enhance the overall sound of your ensemble tremendously.  Remember to talk to your percussionist about their sound the same as you would a wind player.  

Explore More Power Up!

The post Power Up! Percussion Accessories Fundamentals appeared first on MakeMusic.

Browse below to discover new favorites among the continuous new repertoire included with your regular subscription. New works for concert band, string orchestra, jazz ensemble, choir, and solos for any instrument or voice are included in this month’s new interactive music ready to assign, practice, and record in MakeMusic Cloud.

Highlights include concert band works by Tyler S. Grant, Michael Kamuf, and Randall D. Standridge; string orchestra works by Brian Balmages and Soon Hee Newbold; and choir publications by Robert T. Gibson and Pinkzebra.

Small ensembles and duets of any kind can celebrate with Christmas with Canadian Brass – Flex for Two.

Also included are classical solos from Bach, Clementi, Fauré, Handel, Saint-Saëns, Schumann, Telemann, Vivaldi, and many more.

Movie and pop highlights include music from Dan+Shay, Selena Gomez, Michael Jackson, Cyndi Lauper, Led Zeppelin, Rag’n’Bone Man, The Ramones, Talking Heads, Bill Withers, and Wham!

Click to view this month’s new interactive repertoire in the shareable playlists below.

New Ensemble Repertoire Includes

59 new solos
24 new concert band titles
2 new titles for string orchestra
2 new choir titles
1 new jazz ensemble chart
1 new publication for small ensembles

SMALL ENSEMBLE
	TITLE	COMPOSER / ARRANGER	PUBLISHER	LEVEL
	Christmas with Canadian Brass – Flex for Two	Johann Pachelbel; Mark F. Adler	Brassworks Music, LTD
CONCERT BAND
	TITLE	COMPOSER / ARRANGER	PUBLISHER	LEVEL
	All Purpose Performance Collection (Flexible)	Larry Clark	Excelcia Music Publishing
	March Phantasma	Randall D. Standridge	Randall Standridge Music LLC	Easy
	Starfire March	Randall D. Standridge	Randall Standridge Music LLC	Easy
	(not) Alone	Randall D. Standridge	Randall Standridge Music LLC	Medium Easy
	Conquering the Nemesis	Michael Kamuf	Belwin	Medium Easy
	Flexcel Chorale Collection (Flexible)	Ed Kiefer; Traditional	Excelcia Music Publishing	Medium Easy
	Immortal! Invisible!	Ralph Hultgren	Neil A. Kjos Music Co.	Medium Easy
	Palette	Randall D. Standridge	Randall Standridge Music LLC	Medium Easy
	Miles in the Sky	Tyler S. Grant	Tyler S. Grant Music Works	Medium
	One Common Journey	Tyler S. Grant	Tyler S. Grant Music Works	Medium
	Banner of the Sky	Tyler S. Grant	Tyler S. Grant Music Works	Medium Advanced
	Pacific Grooves	Tyler S. Grant	Tyler S. Grant Music Works	Medium Advanced
	Panoramic Landscapes (Band Version)	Tyler S. Grant	Tyler S. Grant Music Works	Medium Advanced
	Solace in the Equinox	Tyler S. Grant	Tyler S. Grant Music Works	Medium Advanced
JAZZ ENSEMBLE
	TITLE	COMPOSER / ARRANGER	PUBLISHER	LEVEL
	Road Song	Alan Baylock; Wes Montgomery	Alfred Publishing Co., Inc.	Medium
STRING ORCHESTRA
	TITLE	COMPOSER / ARRANGER	PUBLISHER	LEVEL
	Medieval Wars	Brian Balmages	FJH Music Company	Medium Easy
	Warrior Legacy	Soon Hee Newbold	FJH Music Company	Medium Advanced
CHOIR
	TITLE	COMPOSER / ARRANGER	PUBLISHER	LEVEL
	Amazing Grace TTBB	John Newton; Robert T. Gibson	GIA Publications Inc
	United (SATB Acapella)	Pinkzebra	Pinkzebra Music, LLC	Easy
SOLOS
	TITLE	COMPOSER / ARRANGER	PUBLISHER	LEVEL
	3 Romances	Robert Schumann	Popscord Makednija Doo Skopje
	Adagio e Tarantella in F minor Part I & II	Ernesto Cavallini	Rubato
	Air varie in G major op. 10 part 1 – 5	Pierre Rode	Rubato
	By The Light Of The Moon	Jean Baptiste Lully	Popscord Makednija Doo Skopje
	Concertino in D major Op. 25, Part I – III	Oskar Rieding	Rubato
	Concertino in G major Op. 24, Part I – III	Oskar Rieding	Rubato
	Concerto in A minor Op. 14 No. 1, Part I – III	Georg Eduard Goltermann	Rubato
	Concerto in D major Op. 36, part I – III	Oskar Rieding	Rubato
	Concerto in G major, Part I – IV	Georg Philipp Telemann	Rubato
	Concerto No. 1 in A minor, Part I – III	Johann Sebastian Bach	Rubato
	Fantasia	Gabriel Faure	Popscord Makednija Doo Skopje
	Flute Sonata no.5	George Frideric Handel	Popscord Makednija Doo Skopje
	He is Born the Divine Child	Traditional	Popscord Makednija Doo Skopje
	Jingle Bells	James Pierpont	Popscord Makednija Doo Skopje
	Kol Nidrei	M. Bruch	Popscord Makednija Doo Skopje
	Silent Night	Franz Gruber	Popscord Makednija Doo Skopje
	Solo De Concours	Jules Mouquet	Popscord Makednija Doo Skopje
	Sonata	Carl Philipp Emanuel Bach	Popscord Makednija Doo Skopje
	Sonata II in F major Part I – IV	Antonio Vivaldi	Rubato
	Sonata III in A minor part I – IV	Antonio Vivaldi	Rubato
	Sonata in A major Op. 5 No. 9, Part I – IV	Arcangelo Corelli	Rubato
	Sonata in A minor Op. 2 No. 10 Part I – V (flute)	Benedetto Marcello	Rubato
	Sonata in C major Op. 2 No. 9 Part I – IV	Benedetto Marcello	Rubato
	Sonata in C major, Part I – IV	Pietro Gaetano Boni	Rubato
	Sonata in D minor Op. 2 No. 8 Part I – IV	Benedetto Marcello	Rubato
	Sonata in D minor, Part I – IV	Andrea Caporale	Rubato
	Sonata in E flat major No. 1 Part I – III	James Hook	Rubato
	Sonata in E minor Op. 38 No. 4 Part 1 – 3 (cello)	Bernhard Romberg	Rubato
	Sonata in E minor Op. 5 No. 8 Part I – IV	Arcangelo Corelli	Rubato
	Sonata in F major No. 2, Part I & II	James Hook	Rubato
	Sonata in F Major, Part I – III	Georg Philipp Telemann	Rubato
	Sonata in G major Op. 2 No. 5 Part I – IV	Benedetto Marcello	Rubato
	Sonata in G major, Part 1 – 3	Jan Křtitel Vaňhal	Rubato
	Sonata in G minor Op. 2 No. 11 Part I – IV	Benedetto Marcello	Rubato
	Sonata No. 2 in D minor Part I – IV	Robert Valentine	Rubato
	Sonata No. 6 in G major Part I – IV	Benedetto Marcello	Rubato
	Sonatina in A minor Op. 47 No. 2, Part I – III	Julius Klengel	Rubato
	Sonatina in C major Op. 65 No. 1, Part I – III	Otto Muller	Rubato
	Sonatina in G major Op. 36 No. 5, Part I – III	Muzio Clementi	Rubato
	Sonatina in G major Op. 47 No. 3, Part I – III	Julius Klengel	Rubato
	The Swan	Camille Saint-Saëns	Popscord Makednija Doo Skopje
	Black Dog (Led Zeppelin)	Jimmy Page; John Paul Jones; Robert Plant	Alfred Publishing Co., Inc.	Medium Easy
	Black Dog (Led Zeppelin) (Vocal)	Jimmy Page; John Paul Jones; Robert Plant	Alfred Publishing Co., Inc.	Medium Easy
	Human (Rag’n’Bone Man)	Jamie Hartman; Nick Monson; Rory Graham	Alfred Publishing Co., Inc.	Medium Easy
	Human (Rag’n’Bone Man) (Vocal)	Jamie Hartman; Nick Monson; Rory Graham	Alfred Publishing Co., Inc.	Medium Easy
	Lose You to Love Me (Selena Gomez)	Julia Michaels; Justin Tranter; Mattias Larsson; Robin Fredriksson; Selena Gomez	Alfred Publishing Co., Inc.	Medium Easy
	Lose You to Love Me (Selena Gomez) (Vocal)	Julia Michaels; Justin Tranter; Mattias Larsson; Robin Fredriksson; Selena Gomez	Alfred Publishing Co., Inc.	Medium Easy
	Lovely Day (Bill Withers)	Bill Withers; Skip Scarborough	Alfred Publishing Co., Inc.	Medium Easy
	Lovely Day (Bill Withers) (Vocal)	Bill Withers; Skip Scarborough	Alfred Publishing Co., Inc.	Medium Easy
	Pet Sematary (The Ramones)	DANIEL RABINOWITZ; Douglas Colvin	Alfred Publishing Co., Inc.	Medium Easy
	Pet Sematary (The Ramones) (Vocal)	DANIEL RABINOWITZ; Douglas Colvin	Alfred Publishing Co., Inc.	Medium Easy
	Psycho Killer (Talking Heads)	Chris Frantz; David Byrne; Tina Weymouth	Alfred Publishing Co., Inc.	Medium Easy
	Psycho Killer (Talking Heads) (Vocal)	Chris Frantz; David Byrne; Tina Weymouth	Alfred Publishing Co., Inc.	Medium Easy
	Speechless (Dan + Shay)	Dan Smyers; Jordan Reynolds; Laura Veltz; Shay Mooney	Alfred Publishing Co., Inc.	Medium Easy
	Speechless (Dan + Shay) (Vocal)	Dan Smyers; Jordan Reynolds; Laura Veltz; Shay Mooney	Alfred Publishing Co., Inc.	Medium Easy
	Time After Time (Cyndi Lauper)	Cyndi Lauper; Rob Hyman	Alfred Publishing Co., Inc.	Medium Easy
	Time After Time (Cyndi Lauper) (Vocal)	Cyndi Lauper; Rob Hyman	Alfred Publishing Co., Inc.	Medium Easy
	Wake Me Up Before You Go-Go (Wham!) (Vocal)	George Michael	Alfred Publishing Co., Inc.	Medium Easy
	Thriller (MakeMusic Soloist)	Erik Morales; Rod Temperton	MakeMusic Inc.	Medium

MakeMusic Cloud is home to the largest interactive and digital sheet music libraries available, with tens of thousands of titles spanning every instrument, ensemble type, skill level, and genre. Each subscription provides access to every title in our unrivaled repertoire library of music from more than 130 different publishers. Get started by generating a quote.

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