MAESTR IN

MAKING
THE

Original Music for Beginning Musicians

Original Music for Beginning Musicians
 Contents
6 10 Little Duets for Teacher and Student 40 Red Boy
by Jordan Grigg by Kirill Voljanin

18 A Little Hedgehog is Off to a Party 43 Sha-la-la-Song for Kids

by Vladimir Malganov by Dieter Angerer

20 Camel of Mine, Travels with 51 Suite for the Young for Violin and Cello
a Three-Legged Camel by Malcolm Dedman
by John Gibson
59 The Farmyard
26 Exercises and Etudes in by Sonja Grossner
the “Country Style” for Guitar Solo
by Alexander Khodakovsky 78 The Letter from Kansas
by Ariel Davydov
32 Fly, Carpet, Fly
by Robert Barr 82 Zita in Wonderland
by Stephan Beneking
36 I Own A Rocking Horse
by Seth Evans
 Introduction
Thanks to the joint efforts of composers from
different countries of the world, we managed
to compile a unique edition with original
educational music scores for beginning
musicians. The booklet contains 12 fun easy-
level music pieces, both for ensemble and
solo instruments. The digital booklet is now
available for FREE download at the project’s
official page:
www.musicaneo.com/music-for-children.html
Please feel free to benefit from it and let your
friends and colleagues make use of it, too.
There is no way to express how grateful we
are to all those who contributed to the pro-
ject: helped to raise funds, composed music,
spread word. It all came true thanks to You!
Let’s keep up the good work together.
Warmest regards,
MusicaNeo Team

A sincere Thank-you to those who made their contribution and supported the project:
Phillip Martin, Friedrich Kisters, Denis Donaire Junior, Christina Voss, Alexander Svyazin,
David Solomons, Kuchynski Yan, Cheryl Leonard, John Hawkins, Donald E Newsom,
Rolf R. Gehlhaar, John Gibson
 10 Little Duets for Teacher and Student
by Jordan Grigg

Jordan Grigg is a noticeable Canadian con-
ductor, composer, performer, teacher and
music director. Having started playing the
violin at 2 he already had a full-fledged music
career by the age of 18. He started conducting
at 14 and since youth has headed such or-
chestras as New England Symphony Orches-
tra, Acadia Symphony orchestra, Chebucto
Symphony Orchestra. Jordan Grigg was also
invited as a music director to Acadia Theatre
and Teatro di Meruchini in Italy.
Today, Jordan is a reputable teacher in
schools and academies as well as founder
of his own studio. By now, his repertoire
as a composer totals more than 750 works,
including 24 symphonies and 18 string quar-
tets. After teaching, conducting and compos-
ing through a number of schools (Wolfville
Strings, Horton Strings, Cambridge Elemen-
tary Strings, Landmark East, Kings-Edgehill)
and academies (Annapolis Music Academy,
Dorian Hall) , he now teaches at his own
studio in the fields of classical, pop and jazz
music, violin, fiddle, viola, cello, double bass,
guitar, piano, clarinet, saxophone, trombone,
theory, harmony, history, counterpoint,
analysis, conducting and composition.

These are all pretty easy pieces for all young ages and can be used in any educational setting.
Have fun and remember, enjoy music.

6 10 Little Duets for Teacher and Student www.musicaneo.com

 10 Little Duets for Teacher and Student
(2 Flutes)

-1-
Jordan Grigg
(b.1972)

° bb 3 ˙™ ˙™ œ œ œ ˙
Waltz q=120
Flute 1
& 4 œ ˙™ ˙™ œ œ œ
(Student)

b3 œ œ œ œ
mf
b ˙ œ œ œ œ œ œ ˙
Flute 2
(Teacher) ¢& 4 ˙ œ œ ˙ œ

œ œ œ
° b˙ ˙ œ nœ œ œ ˙ œ œ œ œ œ œ œnœ
œ œ œ nœ
8

b
(S.) &
Fl. 1

bb œ ˙ ˙ œ ˙ nœ œ œ ˙ œ œ œ œ œœ œ
Fl. 2
(T.) ¢ & œ œœ œ

œ œ œ
° bœ œ #œ œ œ nœ œ œ œ œ œ œœœ œ œœœ
16

b Œ Œ ™ ™ Œ Œ
(S.) &
Fl. 1 ™ ™
œ œnœ nœ œ œ œnœ b˙
Fl. 2
& bb œ œ Œ ™™ ™™ ˙ #œ œ œ œ
œ ˙ œ
(T.) ¢

° b
23 œ œ œ ˙ œ
œ œ œ ˙ œ œ œ œ
b
(S.) &
Fl. 1

b œ œ œ œ nœ œ b˙ œ œ œ ˙ œ
Fl. 2
&b ˙ œ
(T.) ¢
©2013 Jordan Grigg Publishing

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2

˙ œ œ œ œ œ œ œ œ œ œ œ œ
° b
28

b Œ Œ
(S.) &
Fl. 1 ™™
˙
bbœ œ œ œ œ œ œ œ œ œ œ œ Œ
Fl. 2
(T.) ¢ & ™™
-2-

œ œ
œ œq=100
March
œœœœ œ œ œ œ œ œ œ ˙
œ
33
° c ™
(S.) &
Fl. 1 ™
œ œ œ#œ œ
f
c ™ œ œ œ œ œ œ œ œ œ
œœœ œœœœ œœ
¢& ™
Fl. 2
(T.)

œ œœœ œ
5 œ œœœ œ œ #œ œ œ œ œ
˙
(S.) &
Fl. 1
° ™™

œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ
Fl. 2
& œ œ œ
œ œœœ œ ™™
(T.) ¢

œœœœœ œ œ œ œ œ œ ˙
9 œ œœœœœ œ
(S.) &
Fl. 1
° ™™
œ œ œ ˙ œœœœœœœœ œ œ œ
œ œ œ œ
(T.) ¢&
Fl. 2 ™
™

13
œ œ œ bœ œ œ œ œ nœ œ œ œ œ œ
œ œ ˙
(S.) &
Fl. 1
° ™™

˙ ˙ bœ œ œ œ œ œ œ œ œ œ ™™
¢& ˙ ˙
Fl. 2
(T.)

8 10 Little Duets for Teacher and Student www.musicaneo.com

 3

-3-

œ œ œ œœ
° 3 ™œ œ œ œ œ œ œœœœ
Allegro q=138
œ
Fl. 1
& b4 ™ Œ œ œ œœ œ
(S.)

3 œ œœœœœœ œ
mf
œ œ
Fl. 2 b
¢& 4 ™ œ œ
™ œ œ nœ ˙™ ˙™
(T.)

œ œ œ œ œ œ
7
œ œœœœ œ œœœ œ œœœ œ
b œ Œ
(S.) &
Fl. 1
°

œœœœ œ
& b œ œ œ œœœœœœ œ œœœœœœ œ œ œœœœ
œ
Fl. 2
(T.) ¢

nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ
œ œ œ œ Œ ™ ™
13

b Œ
(S.) &
Fl. 1
°
™ ™
œ œ Œ œ œ œ œ
œ œ #œ œ œ
¢& b œ œ œ nœ œœ œ Œ œ
Fl. 2 ™ ™
™ ™
(T.)

œ œ œ œœœ œ œ œ œœœ œnœ œ œ œ œ

œ œ œ
19

b Œ Œ
(S.) &
Fl. 1
°

œ œ
#œ œ œ œ œ œ œ œnœ œ œ œ œ œ œ œ œ œ œœœœœ
¢& b œ œ
Fl. 2
(T.)

œ œ œ œ œ œ œ
° œ œ œ
25
œ œ œ œ
Fl. 1
&b œ œ
(S.)

œ œ œ œ œ œ œ
Fl. 2
& b œ œ œ œ œ œ œ œ œ
(T.) ¢

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œ œ œ œ œ œ œ œ œ œ œ
29
œ œ œ
&b Œ
Fl. 1
° ™™
(S.)

œ œ œ œ œ œ œ œ
œ œ œ
¢& b
Fl. 2 Œ œ œ Œ ™™
(T.)

-4-

° 2˙
Slow q=72
œ œ œ œ ˙ ˙ œ œ ˙ ˙
b
(S.) & 4
Fl. 1

œœ œœœœ œœ œ œ
mf
b 2 œ œnœ#œ œ œ œ œ œ œ œ nœ œ œ #œnœ œ œ
Fl. 2
(T.) ¢ & 4 œ œ œ #œ

˙ œ œ ˙ œ œ ˙
œ œ ˙ œ™ œ ˙
9

b
(S.) & J
Fl. 1
°

œœ œœœœ œ œ œ
f
b œ œnœ#œ œ œœœ œ œ œ œ œ œnœ#œ œ #œ œ ˙
(T.) ¢&
Fl. 2

œ œ œ œ ˙ ˙ œœœœ œœœœ ˙ œœœ

œ
18

b
(S.) &
Fl. 1
°

œ
b œ œ œœœ œœœœ œ œœ ˙ œ œœœœ
(T.) ¢& œ œ œ œ ˙
Fl. 2

˙ œ #œ nœ ˙ œœœœ ˙
œœœœ ˙ œ
26

b
(S.) &
Fl. 1
°

œœœœ ˙ œ œ œ nœ œ œ #œnœ œ œ œ#œ œ œ œ œ

mf
b œ œnœ#œ
(T.) ¢& œ #œ
Fl. 2

10 10 Little Duets for Teacher and Student www.musicaneo.com

 5

° œ œ œ œ ˙ ˙ œ œ ˙ ˙
˙
34

b
(S.) &
Fl. 1

b œœœ œœœ œœœœ œœœœ œœœ nœ œ œ #œnœ œ œ œ œnœ#œ

Fl. 2
(T.) ¢ & œ œ œ #œ

° œ
42 œ œ ˙ œ œ ˙
b œ
(S.) &
Fl. 1

bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ #œ œ
Fl. 2
(T.) ¢ & œ

œ™ œ œ œ™
rit.
œ ˙ œ
47
Fl. 1
° b
& J ˙ J ˙
(S.)

b #œ œ œ œ œ œ œ nœ #œ œ #œ œ ˙
¢& ˙
Fl. 2
(T.)

-5-

œ q.=84
œ œ œœœœ œ
œ œ œ œœœ œ œœ œ
Vivace
# 6 ™™ J ‰ J J ‰ J œ œ œ
œ J‰J J‰J J ‰ ‰ ™™ ™™ J‰J
& 8
°
J
Fl. 1
(S.)

œ œ
f mf
# 6 ™ j‰ ‰ J œœœ jœ ‰ œ œ ‰ j œ œ ™ ™ œ œ œ œ œ œ
‰ ‰ œ œ ‰
(T.) ¢& 8
Fl. 2 ™ œ J J œJ J J œœ ™ ™

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6

œ œœ œ
6
# œ œ œ œJ œ œ œ œ œ œ œ œ œ œ œœœœ
Fl. 1
°
& ‰J œ J‰‰ ™™ ™™ J ‰ J J ‰ J œ
J
(S.)

# œœœœœœ œ œ œ œ
™™ ™™ œj ‰ ‰ J ‰ ‰ œ œ
œ
f
‰ J œ ‰ j œ‰ œœœ œ
Fl. 2
(T.) ¢ & J J œ J J œ J

œ œ œ œ œ
11 œ
° # œ J œJ J œ œ œ œ œ œ
J ‰ ‰ J ‰ ‰ ™ J J
‰ ‰ ‰ ‰ J ‰ ‰
(S.) &
Fl. 1 ™

# j œ œ œ œ œ œ
j
œ j
œ ‰ œ œJ ‰ J J ‰ œ œ œ œ œ œ œ ‰ ‰
(T.) ¢& J œ œ
Fl. 2 ™™

Allegroœq=120 œ œ œ ™ œ œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ
-6-
œ œ œ
° ## 4 ™ J J ™
J J J J
Fl. 1
& 4 ™ ‰ ‰ ‰ ‰
(S.)

#
f
œ œ œ œ œ œ œ œ œ
4 œ œ
# 4 ™™ ‰ J ‰ œ™ J ‰ J ‰ œ™ J #œ œ Œ
(T.) ¢& J J
Fl. 2

~~
œ œ œ ™ œ œ œ œ ™ œ œ œ œ œ œ œ Ÿœ œ œ œ
° ## J J
5

& ‰ ‰ J J‰J‰ J J‰J‰ J ‰ œ‰

J
Fl. 1 ™™
(S.)

# œ œ œ œ œ œ œ œ
# œJ ‰ J ‰ œ™ J œJ ‰ J ‰ œ™ J œ œ œ œœœœ
Fl. 2
(T.) ¢ & œ ™™

œ œœœ
## ™ œ œ œ œ œ œ œœ œ œ œ œ œ œ #œ œJ ‰ œJ j
9

J‰ ‰œ‰
(S.) &
Fl. 1
°
™
mf
œ œ #œ -œ -
## ™™ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ#œ œ œ œ- -
Fl. 2
(T.) ¢ & œ

12 10 Little Duets for Teacher and Student www.musicaneo.com

 7

œ œœœ
## œ œ œnœ œ œ œœ œœœœœ œ œ œ œ
13

J‰J‰J‰Œ
(S.) &
Fl. 1
° ™™

## nœ œ œ œnœ œ œ œ œ œ ‰ j ‰ œ œ œ œ œ œ
Fl. 2
(T.) ¢& œ œ J œ œ œ œ œ œ œ ™™

œ œ œ ™ œ œ œ œ ™ œ œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ
° ## J J
17

‰ ‰ J J‰ J‰ J
Fl. 1
(S.) &
f
## œ œ ‰ œ œ œ‰ œ œ œ œ œ œ
‰ ‰ Œ
¢& J J œ™ J J J œ™ J #œ œ
Fl. 2
(T.)

œ œ œ œ œ œ œ œ œ œ œ œ
#
21
J Ϫ Ϫ
Fl. 1
°
&# ‰ J ‰ J J ‰ J ‰ J J ‰ J ‰
(S.)

## œ ‰ œ ‰ œ œ ‰ œ ‰ œ œ œ œ œ
Fl. 2
(T.) ¢ & J J œ™ J J J œ™ J œ œ

Ÿ ~~~~ œ œ Ÿœ~~~~ œ œ œ
œ œ œ œ œ
rit.
œ œ œ
° ##
24
J ‰ œ ‰ J ‰ J ‰ J ‰ œ ‰
Fl. 1
(S.) & J J
# œ œ œ œ œ œ
# œ œ œ œ œ œ
Fl. 2
(T.) ¢ & œ œ œ J ‰ Œ

˙ œœœœœœœ
-7-
œ œ œ œ œ œ œœ˙
Maestoso q=84
° b c ™ ˙ ˙ œœœ
bb ™
(S.) &
Fl. 1

œ œ œ
œ œ œ œ ˙
f
Fl. 2
& bbb c ™™ ˙ œ œ œ ˙
œ œ œœœ
(T.) ¢

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8

œ ˙ œœœœœœœ œ œ œœœœœœœœ
œ œ J‰J‰˙
1. 2.
œ
bbb
6

&
Fl. 1
° ™™
(S.)

b œ œ œ œ œ œ nœ œ œ œ œ œ bœ œ œ
bb œ œ œ œ nœ œ œ œ ™™
(T.) ¢&
Fl. 2

œ œœœ œœœ œœœ

b
b b J ‰ œJ ‰ ˙ ™™ œ œ œ œ œœœœœ œ
10

&
Fl. 1
°
(S.)
p
Fl. 2
& bbb œ œ œ œ ˙ ™™ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ
(T.) ¢

b nœ#œ œ œn œ n œ bœ
œ œbœ œ œnœ œœœœœ œ œœœ œœœ
14

bb œ
(S.) &
Fl. 1
°

bbb œ nœ œnœ œ œ œ œ œ nœ œ œ œ œ œJ ‰ œ œ
¢& œ b œ œ œ œœJ ‰ œ
Fl. 2
(T.)

œ ˙ œœœœœœœ
œ œ œ œ œ œ œ œœ˙
b
b b œJ ‰ J ‰ œJ ‰ J ‰ ™™ ™™ ˙
18

&
Fl. 1
°
(S.)
œ œ œ
œ bœ œ œ ˙
f
Fl. 2
& bbb œnœnœ œ œœ ‰ Œ ™™ ™™ ˙ œ œ œ ˙
(T.) ¢ J

˙ œ œ œ œ œ œ œ
œ œ œ
1.
° b ˙ œ œ œ œ
23
Fl. 1
(S.) &b b
œ œ œ œ œ œ nœ œ œ
Fl. 2
& bbb œ œ œ œ œ œ œ œ
(T.) ¢

14 10 Little Duets for Teacher and Student www.musicaneo.com

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œ œ œ œ œ œ œ œ œ
rit.
œ œ ˙ 2.

bbb J ‰ J ‰ J ‰ œ ‰ œ Œ
26

&
°
J
Fl. 1 ™™
(S.)

œ bœ
bbb œ œ œ œ œ œ œ œ œ œ
(T.) ¢&
nœ œ œ œ Œ
Fl. 2 ™™

-8-

œ œ ˙ œœœœœ œœœ œ œ œ
#œ œ œ œœ
Slow q=100
b 3 œ œ œ
b Œ
(S.) & 4
Fl. 1
°
mf

bb3 œ œ œ œ œ œ
Fl. 2
(T.) ¢ & 4˙ œ œ #œ œ œ œ œ œ œ #œ œœœœ

7
b œ œ#œ œnœ #˙ œ œœœœ œ œ nœ œ#œ œ œ #œ œ œœœœ
b œ ™™ ™™ œ
&
Fl. 1
°
(S.)

œ œ
Fl. 2
& bb˙ #œ ˙ Œ ™™ ™™#œ œ œ #œ œ œ#œ œ nœ œ #œ ˙ Œ
(T.) ¢

rit.
œ œ œ œ œ œ#œ œ œ œ œ œ œ ˙™ œ U
œ œ nœ œ#œ ˙
1. 2.

bb
13
Fl. 1
°
& ™™ Œ
(S.)

U
bb œ œ œ œ œ œ#œ œ œ œ ™ ™™ œ œ œ Œ
¢& œ ˙ ˙
Fl. 2
(T.)

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10

-9-

™ œ œ œ œ œ œ ™ œ œ #œ œ œ ™ œ œ nœ ™ œ œ 1.œ œ #œ œ
Siciliano q.=60
6 œ œ œ œ #2.œnœ œ œ œ
(S.) & 8 J J ™ J
Fl. 1
° ™ ™
™
mf
œœ
&
6
8 ‰ ™ œ J œ œ œ œ ‰ œ™ œ ™ œ œJ œ ‰ ™™ œ œ #œ œ œ
J J J
Fl. 2 ™
(T.) ¢

œ™ œ œ œ œ™ œ œ œ œ ™ œ œ œ œ œ œ™ œ œ œ ™ œœ œ œ œ
œ œ œ œ
6

& J J J
Fl. 1
° ™™
(S.)

#œ œ œ œ œœ œ™ œ™ œ œ #œ œ
& J ‰ J ‰ J ‰ œ J œ œ
J
Fl. 2 ™
™
(T.) ¢

œ ™ œ œ #œ œ ™ œ œ nœ ™ œ œ œ œ #œ œ œ™ œ œ œ œ œU
rit.
11
œ œ œ ™ #œ œ™
J J
(S.) & J
Fl. 1
°
™
œ U
œ œ œ ‰ œ™ œ œ œ œ ‰ œ™ œ œ œ œ™
Fl. 2
(T.) ¢ & J
™ J ™
™ J J

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- 10 -

˙ ˙ h=76 œ œœœ œ œ œ œ œ œœœœœ œ ˙ ˙

Maestoso ™
° bbC ™ J
bb
(S.) &
Fl. 1 ™
œ œ
ff
œ nœ œ
Fl. 2
& bbbb C ™™ ˙ œ
˙ Œ ˙ ˙ Œ ˙ ˙
(T.) ¢
œ œœ œ œ œ™ œ œ œ ˙ ˙ œ œ œnœ œ œ œ œ
° bb b
6
œ œ
Fl. 1
& b J ™™ ™™
(S.)

b b œ œ Œ œœœœ˙ œœ ™™ ™™ œ œ œ œ œ œ œ
Fl. 2
& bb œ ˙ œ œœœœ
(T.) ¢

˙ b œ œ n œ œ œœ œ bœ œ œ œ œ œ œ œœœ œ
° bb œ
11

b b œ
(S.) & œ
Fl. 1

nœ
bbb œ œ œ œ œ œ œ œnœnœ œ œ œ œŒ œŒ
b œ Œ œ nœ œ Œ œ œ œnœ
(T.) ¢& œ
Fl. 2

œ™ œ
œ œ ˙ ˙ ˙ œ œœœ œ œ œ
b ™™ œ œ œ œ
16
b J
1. 2.
b b
(S.) &
Fl. 1
° ™™
ff

bbbb œ œ œ œ ˙ ™™ œ œ œ œ œ œ ™™ ˙ ˙
œ œ Œ ˙ ˙
(T.) ¢& œ
Fl. 2

21
b œ œ œ œ œ œ ˙ ˙ œ œ œ œ œ
bb b
(S.) &
Fl. 1
°

bbbb œ nœ œ Œ
œœ Œ
Fl. 2
(T.) ¢& ˙ ˙ œ
œ™ >œ >œ >œ ™ >œ >œ >œ U
>˙
rit.
œ œ œ œ œ ˙
° bb
24

bb J J
(S.) &
Fl. 1 ™™
>œ > U
ff

bbbb œ œ œ œ ˙ œ œ
˙
>
™™ ˙
>˙ œ ˙
(T.) ¢&
Fl. 2
>

www.musicaneo.com 10 Little Duets for Teacher and Student 17

 A Little Hedgehog is Off to a Party
by Vladimir Malganov

Vladimir Malganov was born in 1960 in
Russia. He finished music school majoring
in guitar. Since 1991 he has been living and
working in Belarus. Vladimir has two degrees,
technical and musical. He graduated from the
Higher Technical Academy in Russia (1982)
and Belarusian State University of Culture
and Arts (2012) with honours. Before moving
to Belarus he worked as an engineer and held
various mid to high executive positions at a
number of various enterprises in Russia. At
the same time he studied music at the ama-
teur level, performed in rock and jazz ensem-
bles. After moving to Belarus he dedicated
himself to professional music. He worked as a
teacher in the class of electric, bass and clas-
sical guitar, was the leader of the «Evergreen
Jazz Quartet» in Brest Philharmonic, and was
a maker of musical instruments.
As a participant of various music ensembles,
he gave concerts in most European countries
and the former Soviet Union. Vladimir has
been awarded diplomas, certificates and win-
ner titles for musical achievements at various
levels. Many of his students have chosen mu-
sic as their career path and have been work-
ing successfully both in Belarus and abroad.
Most of his pupils have earned the title of
‘laureate’ at national and international levels.
Vladimir is currently working as a guitar
teacher in one of the children’s art schools
of the city of Minsk; he also takes part in
concerts, writes music for guitar and guitar-
featuring ensembles. He is a resident com-
poser of the National Center of Intellectual
Property of the Republic of Belarus. Vladimir
has many publications the list of which is
constantly growing; he pays special attention
to children’s educational repertoire.

The music miniature “A Little Hedgehog is Off To a Party” is very vivid and funny. It can be
performed by a student and a teacher or by two students. The solo part is designed for juniors,
the second part - for middle school pupils.

18 A Little Hedgehog is Off to a Party www.musicaneo.com

www.musicaneo.com A Little Hedgehog is Off to a Party 19
 Camel of Mine, Travels with
a Three-Legged Camel
by John Gibson

John Gibson is a veteran music arranger who
has been supplying woodwind players with
interesting, well-crafted arrangements since
1998. That was the year JB Linear Music was
formed to market great sheet music for flute,
oboe, clarinet, saxophone and bassoon. John
has over 600 pieces of music ranging from
solos to duets to large woodwind ensem-
bles. Many of them have been performed all
over the world and reviewed in international
woodwind magazines.
John was born in Dallas, Texas and began
studying with Oakley Pittman, who was
director of bands at Southern Methodist
University and principal clarinettist of the
Dallas Symphony. John and his family moved
to Denver, Colorado where he studied with
the retired principal clarinetist of the Denver
Symphony, Val (Tiny) Henrich. Further stud-
ies with David Etheridge, Jerry Neil Smith,
and John McGrosso completed his studies
and resulted in a music education degree and
a masters of music performance degree from
the University of Colorado. During his time at
CU, John discovered his interest in arranging,
taking classes in that topic whenever pos-
sible. As a school band director John wrote
many arrangements for students of all levels
to play.

Camel of Mine, Travels with a Three-Legged
Camel” is a piece for four saxophones – all of
the same key. It could be played by four altos,
four tenors, or three altos and a baritone sax.
It would also be playable by clarinets. This
is a fun piece that will allow kids to imagine
what traveling with a three-legged camel
might be like. It serves as a good introduc-
tion to simple jazz rhythms and harmonies as
well as an easy way to learn playing in an odd
meter like 5/8 (that is the three-legged part).

Parts for individual instruments are available for download at the composition’s page.
http://www.musicaneo.com/sheetmusic/sm-190678_camel_of_mine_-
_travels_with_a_three-legged_camel.html

20 Camel of Mine, Travels with a Three-Legged Camel www.musicaneo.com

 Score Camel of Mine
Travels with a Three-Legged Camel
For Saxophone Quartet (all same key)
John Gibson
b
& b b 44 Œ  Œ 
Moderate Swing

Part 1 Œ  Œ  Œ  Œ  ∑
finger snaps

b
Part 2 & b b 44 Œ  Œ  Œ  Œ  Œ  Œ  ∑
finger snaps

b
Part 3 & b b 44 Œ  Œ  Œ  Œ  Œ  Œ  ∑
finger snaps

b
& b b 44  . œ . œ > . œ . œ > . œ . œ œ . œ œ. œ œ . œ œ
> .
Part 4
>
f

>œ >œ
B

>œ  œ œ >œ œ œ >œ

A

b  J‰Œ J‰Œ .. œ . œ œ
&bb  J‰Œ J‰Œ
5

1
p f p f p f p f
b >œ  >œ  >œ œ œ >œ œ œ . œ . œ œ >œ
2 &bb  J‰Œ J‰Œ J‰Œ . J‰Œ
p f p f p f p f
>œ >œ  >œ
b
&bb  ‰Œ 
J‰Œ J‰Œ # œ œ n >œ œ œ .. œ . œ œ >œ ‰ Œ
3 J J
p f p f p f p f
b > .
&bb .
 œ . œ > . œ . œ > . œ . œ œ . œ œ. œ œ . œ œ .. œ. œ
>
4
>
© John Gibson 2013

www.musicaneo.com Camel of Mine, Travels with a Three-Legged Camel 21

 2 Camel of Mine

>œ œ . œ œ >Jœ œ œ >œ œ

bb b œ . œ œ J ‰ Œ ‰ Œ œ œ. œ œ œ œ Œ
10

1 &
p f p f f creas.

bb œ . œ œ >Jœ ‰ Œ œ . œ œ >œ
J ‰ Œ œ œ >œ œ
œ.
& b œ .
>
2
p f p f p f
b œ. œ œ >œ œ . œ œ >œ #œ œ n >œ œ
&bb J‰ Œ J ‰ Œ œ . œ.
>p
3
p f p f f f
b
& b b . œ . œ > . œ . œ œ . œ œ. œ œ . œ œ . œ. œ
> > .
4
>

œ œ œ œ œ. >œ œ œ œ
b bb œ œ . œ œ Œ J J Œ œ. œ œ œ œ. œ œ
14

1 &
ƒ f creas.

b > > . œ. >œ œ œ œ

& b b . œ. œ . œ.
>
2

p f p f ƒ p f
b
& b b . œ.
>.
 œ. # >œ œ œ œ œ
> . œ.
>p
3
p f p f ƒ f
b
& b b . œ . œ > . œ . œ œ . œ œ. œ œ . œ œ . œ. œ
> > .
4
>

22 Camel of Mine, Travels with a Three-Legged Camel www.musicaneo.com

 Camel of Mine 3

œ œ œJ œ œ œ >œ œ œ . . . .
C

bb œ œ . œ œ . œ œ 58 œ. œ. œ. œ œ œ. œ. œ. œ œ
e =e

b J Œ Œ
18

1 &
ƒ
b > . > . œ. >œ œ 58 œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
2 b
& b œ. œ Œ œ
p f p f ƒ
b >. # >œ œ œ Œ
& b b . œ.  œ. œ
. . . .
85 œ. œ. œ. N œ œ œ. œ. œ. œ œ
>
3
p f p f ƒ
b
& b b . œ . œ > . œ . œ œ . œ œ. œ œ . œ œ 85 . œ œ
4
> > œ œ.
> >

. œ. œ. œ. œ. œ. œ. œ. œ. œ. . . . œ. œ. . . . œ. œ. . . . . .
œ
b œœœ œœœ œ œ œ œ œ œ. œ. œ. œ n n n 44
&bb
23

. . . .
bb b œ. œ. œ. œ œ œ. œ. œ. œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ œ n n n 44
2 & . . . #œ

b b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. . . . . n n n 44
3 & b œ. œ. œ. œ œ œ. œ. œ. œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ

b
& b b œ. œ
œ
œ œ œ œ. œ œ. #œ n n n 44
> >. œ. œ.
4
> >

www.musicaneo.com Camel of Mine, Travels with a Three-Legged Camel 23

 4 Camel of Mine

œ nœ nœ œ œ œ œ œ œ œ
D

œ œ nœ œ œ œ œ œ
& 44 Œ
29

œ nœ nœ nœ œ  œ œ n
2 & 44 Œ œ œ 

œ nœ nœ œ œ  nœ œ
3 & 44 Œ  œ œ 

4 œ nœ nœ œ nœ nœ
4 &4 œ œ œ nœ œ œ œ œ œ œ

œ œ œ œ. œ œ
œ œ œœœ œ œ œœœ œ œ œœœ
33
œ œ œ œ.  .. b b b
1 &

œ
œ œ œ œ. œ œ œ  œ œ  œ œ  .. b b b
2 & œ œ œ œ. 

œ œ œ œ. œ œ œ œ  œ œ  .. b b b
3 & œ œ  œ œ œ œ. 

& œ œ œ œ. œ œ œ œ œ œ œ œ œ.  .. b b b
4
œ œ œ œ œ œ œ œ œ

24 Camel of Mine, Travels with a Three-Legged Camel www.musicaneo.com

 Camel of Mine 5

nœ . >
n œ >œ >œ 5 œ. œ. œ. œ. œ. œJ
E Slowly Tempo I
U >
rit.

b
&bb œ œ A.  Œ Œ
38

1 œœœ œœœœ 8
p F ƒ
œ  U >œ
b
&bb Œ Œ Aœ œ nœ nœ œ  5
œ œ 8 œ. œ. œ. œ. œ. J Œ Œ
2
œ œ œ œ b > > >
P f ƒ
b U n >œ Œ Œ
& b b nœ nœ . 58
œ œ A. œ œ œ œ œ œ œ > œ œ. œ. œ. œ. œ. J
> >œ
3
p F ƒ
b Aœ œ œ  nœ nœ œ  U
5 >œ
4 &bb  œœœœ  œ œ
8 .
œ œ JŒ Œ
P f ƒ > > > >

www.musicaneo.com Camel of Mine, Travels with a Three-Legged Camel 25

 Exercises and Etudes in
the “Country Style” for Guitar Solo
by Alexander Khodakovsky
Alexander is a teacher, composer, inventor of
a stringed musical instrument, Honored Art-
ist of Ukraine.
He is the apprentice of I. Krivenchuk, V.
Petrov, composer A. Stetsjuk.
The founder and the first classical guitar
teacher at Zhitomir State Musical College
named after V.S. Kosenko (in 1981), Zhito-
mir music school № 1 named after B. Lia-
toshynsky and music school № 3, Zhitomir
State Institute of Arts, National Academy of
Culture and Arts Management. Disciplines
taught – major (guitar), conducting, orches-
tration, sheet music reading, ‘ensemble’ class,
practical aspects of teaching, accompaniment
and performing. Author of the “Informatics
for musicians - 2000” course.
Author of artistic and educational programs
on the history of guitar in Volyn-Zhitomir.
Exercises and Etudes in the country style” for
guitar solo were composed for children who
would like to get acquainted with the basics
of this style. The compositions represent
short structures easy for quick memorizing
and variations, which helps to develop the
improvisational skills in the future. During
26 Exercises and Etudes in the “Country Style” for Guitar Solo www.musicaneo.com
Researcher of folklore and ethnology of
Polesye. Creator of the “International Guitar
Academy - 89” concept (IGA-89). Author of
numerous methodological publications. More
than 100 of his students are soloists, orches-
tra members, Doctors of Arts, teachers at
Zhitomir College of Culture and Arts named
after I. Ogienko and other music schools
and colleges in Ukraine and Russia. He has
trained 10 laureates and winners of national
and international competitions.
State awards: Lesya Ukrainka Prize in the
field of literature and art (2012). Diplo-
mas from Zhitomir Regional Council (1987,
1995, 2005, 2009) and Ministry of Culture of
Ukraine (2000). First degree “Order of Merit”
from Russian Awards Committee (Moscow,
2008).
the creation of the pieces the author used
diatonicism, pentatonism, chromatic and
blues tones, specific moves, syncopation,
melismata and chords. The pieces of the cycle
are put in the ascending order by the level of
difficulty.
 Exercises and Etudes in
the “Country Style” for Guitar Solo

Alexander Khodakovsky

www.musicaneo.com Exercises and Etudes in the “Country Style” for Guitar Solo 27
28 Exercises and Etudes in the “Country Style” for Guitar Solo www.musicaneo.com
www.musicaneo.com Exercises and Etudes in the “Country Style” for Guitar Solo 29
30 Exercises and Etudes in the “Country Style” for Guitar Solo www.musicaneo.com
www.musicaneo.com Exercises and Etudes in the “Country Style” for Guitar Solo 31
 Fly, Carpet, Fly
by Robert Barr

Born in London 1950. came out playful, jazzy, danceable, popular,

I studied literature at Cambridge University.
But the musician in me took me to South
America, where I studied Villa Lobos and
Tom Jobim.
I began composing guitar pieces because I
could not find the sort of music that I wanted
to play, so I had to write it myself. And it
but all requiring a classical technique. For
many years I didn’t think to publish. My
music was for me, my friends, family and stu-
dents. But then one day, I decided to gather
all the pieces together and make them avail-
able to anybody that likes to play enjoyable,
fun, stimulating guitar music. Please enjoy it.

An exciting guitar duet, a mix of driving
motion and lyrical floating. There is plenty
of room for the players to explore different
effects by using varied right finger styles
and left finger positioning. There is a hair-
raising octave-unison passage and a stretch
of melody in which the two guitars play
alternate lightly-strummed cords. A fun and
attractive piece, not difficult but challenging,
and rewarding.

32 Fly, Carpet, Fly www.musicaneo.com

 112

13

www.musicaneo.com Fly, Carpet, Fly 33

17

21
3
3


25

29

32
1 1
1 1
1 1
    
p p p p  p  
p p p
slightly slower, dreamily

      
p p p p p p   p
p p

37

    
 p p p  p p
p p

      
p p p p p p p

Fly, Carpet, Fly page 2

34 Fly, Carpet, Fly www.musicaneo.com

 41

initial tempo

44

47

51

54

57

Fly, Carpet, Fly page 3

www.musicaneo.com Fly, Carpet, Fly 35
 I Own A Rocking Horse
by Seth Evans
I started studying piano at the age of six at
the St. Felix Street Playhouse in Brooklyn,
NY, and continued my studies, privately with
Noel Sokolow, and the Henry Street Settle-
ment House in Manhattan. After graduating
from Brooklyn College, CUNY in 1969, I stud-
ied bass with Carol Kaye in Los Angeles.
I have studied composition with David
Garner and Alden Jenks at the San Francisco
Conservatory of Music, composing synthe-
sized film scores and chamber music. Two of
my pieces, A New York (Circa 1950) Suite and
Scherzo for Woodwind Quartet have been
performed at the San Francisco Conservatory
This is part of “A Modal Suite for ‘Cello
Duet”. The suite is designed to introduce the
student to the various and aurally interest-
ing modalities of music. Throughout the
suite the aspiring ‘cello student will encoun-
ter both new time signatures and extended
techniques. It is the desire of the composer
to present this suite as a learning experience
while at the same time creating interesting
music for the student to master. Each of the
36 I Own A Rocking Horse www.musicaneo.com
of Music, and “A New York (Circa 1950) Suite”
was recently performed at a Society of Com-
posers conference in Portland, Oregon.
Most recently I have completed writing the
music for a new musical, Roscoe, with book
and lyrics by on Stitt. This is the infamous
story of Roscoe ‘Fatty” Arbuckle the silent
movie star whose career was destroyed by
an overly ambitious San Francisco district
attorney, and William Randolph Hearst. Truly
a Comic Tragedy. A concert version of Roscoe
was recently performed in New York City at
The Symphony Space.
seven pieces in this suite is in a different
mode -Locrian, Mixolydian, Aeolian, Ionian,
Phrygian, Lydian and Dorian - and together
the present the student with the seven
diatonic modes. This piece is in the Ionian
mode.
I hope that the students who play these
pieces will find as much enjoyment in them
as I have had in the composing.
 Cellos IV

I Own A Rocking Horse

(Ionian)
by Seth Evans

q»¶™ œ œ œ. œœ ˙.
Freely j̊
3:2œ

B 78 Œ . .. œ œ œ œ ˙ ..
Ó Œ. Ó
p
Cello 1

q»¶™
Freely

?7 œ œ œ œ œ
œœ œ
œ .. œ œ œ œ œ
œœ œ
œ œ
œœ œ
œ
Legato simile
Cello 2 8 œ œ
1
π

B ˙. œ œ ˙. œ œ ˙. œ œ ˙ .. ˙ .. .. 68
6

œ
? œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œœ œ
œ œ
œœ œ
œ .. 68
œ
6

rit.
a tempo

œ ˙. œœ ˙ œ œ œ
Stringendo
œ œ œ œ œ œ . ˙
1. 2.

B 6 .. œ . œ œ œ œ œ 7
8 8 .
11
Stringendo

? 6 .. œ œ œ j œ œœœ œœ 7 œ œ œ œ œ .. œ œ œ œ
a tempo

œ œ œ
1. 2. rit.

8 œ œ 8 œ œ œ
11

œa tempo
œœ œ œ œ œœ œ œ œ œ
B œ œœ œ œœ œ œ œ œ œ œ œ
p 3:2œ
j̊

œ œ œ ˙.
16

œ œ œ ˙˙ .. œœ
a tempo

? œ œ œ. œ
œ ˙. œ œ ˙.
16p
œ œ.
.
B œ œ œ œ œ œ 6 œ œ œ ?œ œ œ œ œ œ œ. œ. œ.
8 œ œ
P
œ œ œ œ œ. œ ˙.
21

. œ.
? ˙˙ . œœ 6 œ
8 œ. Œ. Œ J
B

21

(c) 1993 Seth Evans

www.musicaneo.com I Own A Rocking Horse 37

I Own A Rocking Horse

œ œ œ. œ. œ.
?b œ. œ. bœ. œ. œ œ œ
œ œ.

œ œ œ.
26

œ . œ œ œ œ œ œ œ œ œ ˙.
B œ œ œ œ œ œ œ. œœ
26

?bœ. œ. bœ. œ bœ œ œ. bœ. 9 œ. œœœ œ 6 Œ B

œ
J
8 œ J 8 œ.

œ œ
31

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B œ. œ œ. 9 œ. œ œ ˙. ? 6 ‰ œ œ œ
8 8
31 p

œ œ œ œ œ. œ ˙. œ œ œ œ. œ œ œ œ. œœ œ œ œ œ œ œ
B

œ. œ œ
36

œ. œ. œ. bœ. œ. bœ. œ
? œ. œ œ œ
36 P

œ œ œ œ œ. œ ˙. œ. œ œ œ.
B œ. œ œ œ œ œ œ. œ œ œ. 9
8
œ.
41

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? œ. bœ. œ. bœ. œ bœ œ œ. bœ. 9
8
41

B 9 œ. œ œ ˙. 6 œ œ œ œ œ œ œ œ œ
rit.

8 8 J ˙. œ J 78
46 π
? 9 œ. œ œ œ œ 6 ˙. œ œ œ œ ˙. 7
rit.

8 œ J 8 œ J 8
46 π -2-

38 I Own A Rocking Horse www.musicaneo.com

 I Own A Rocking Horse

œ œ œ.
a tempo
œ ˙.
j̊
3:2œ

B7 œ œ œ œ œ ˙ .. ˙. œ œ
8
50 p
?7 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
a tempo simile

8 œ
50

B ˙. œ œ ˙. œ œ ˙ .. ˙ .. 68
54

œ
? œ œ œ œ œ œ œ œ œ œ
œ œ œ
œ œ
œ œ œ
œ 6
8
54

a tempo

œ œ œ œ 7 ˙. œ œ 1.˙
œ œ œ . ˙ ..
Stringendo 2.

B 6 .. œ . œ œ œ œ œ rit.

8 8 .
58

Stringendo

? 6 .. œ œ œ j œ œ œœ œœ 7 œ œ œ œ œ œ œ œ œ .. œ œ œ œ
a tempo 1. 2. rit.

8 œ œ 8 œ œ
58

œ œ.
a tempo j̊

œ ˙.
3:2œ

B œ œ œ œœœ ˙ .. ˙. œ œ
63

? œ œ œ œ œ
œ œ œ
œ œ
œ œ œ
œ œ
œ œ œ
œ
a tempo

œ
63

rit.

B ˙. œœ ˙. œ œ ˙ œ. ˙ ..
67

œ
? œ œ œ œ œ œ œ œ œ
œ œ
œ œ j ˙ ..
rit.

œ œ ˙˙ ....
67

-3-

www.musicaneo.com I Own A Rocking Horse 39

 Red Boy
by Kirill Voljanin

Kirill Voljanin, a guitarist and composer, Gui-
tar Virtuoso 2013 Award Winner, was born in
Kazan, Russian Federation in 1968. His music
education started in his childhood under the
guidance of his father, a composer and piano
teacher in a music school. At the age of ten
Kirill started to study accordion and then,
at the age of fourteen, he started studying
guitar on his own. Studying classical guitar in
V.F. Antonov’s class, he graduated from the
college cum laude. From the age of sixteen,
while still in college, Kirill started to work in
a philharmonic as a guitarist in folk groups.
In 1993 he becomes a record producer in
Soyuz Records in Moscow. There he managed
the commercial music recording division.
In 2000 Kirill becomes an independent
composer and music teacher. Today he is the
author of thematic music shows like “Guitar
in Russia - 20th Century”, “Anders Segovia”,
“The Quiet Joy” and others. Kirill Voljanin’s
work is the new Russian classical guitar
music, it’s a continuation of the creative
traditions of Russian guitar players of the
19th and 20th centuries, a style that could be
called “Light Naïve”.

“Red Boy” is a solo guitar piece and a musical portrait of a young Irish lad. It’s a simple work in
a style of Celtic folk motives.

40 Red Boy www.musicaneo.com

 Рыжий
Red мальчик!
Boy
Red boy!
Кирилл Волжанин
Kirill Voljanin
www.kirillvoljanin.musicaneo.com

   0    2  3  1     2      
 0 2  0  
1


Guitar 0
3 0

          
4

         
    
 
III

  0  4         
p

4
0
 1 1    
7 4

  0 0

0 
3 
2 
 
  
3 
p
p

p
III

  4  1 4  0
2

      4     
10

    
 
        
 
 3

III

0 4
  0 4  
 32     0  0  0   0    3 0   0     1
13 4

 0
  0
4 2 4

1 3 1 4 3
0 0 0

     
p

4 
0 
       
16

 2 0   

3 
        
1

    
p
p
 
p
www.musicaneo.com ©Red
Kirill Voljanin 2013
Boy 41
 2 Рыжий мальчик!
III

  4  1 4  0 
2 a

             

     
19

             
        
4

3 Golpe
      
simile

                    
  
22

                   

               

                      

       
25

                
              

                    
                     
28

                      
      

                    

               
31
4

                      
3

       
0
1
0

rit.

                
         
34

       
       














  

42 Red Boy www.musicaneo.com

 Sha-la-la-Song for Kids
by Dieter Angerer

I was born on the 6th of April 1952 and fin-
ished the music school of Leoben. Later on, I
studied music at the University of Music and
Performing Arts of Vienna.
My horn studies ran under the supervision of
Prof. F. Gabler. I graduated with honors and
received a state award “Staatlicher Würdi-
gungspreis”.
For 40 years I worked as a hornist in the
orchestra of Vienna State Opera. I am also
a member of “Die Stadtmusik Wien” music
band and The Vienna Horn Society. Since
2012 I have been the President of this society.
I was the leader of many music bands and
also worked as a music teacher for kids prac-
ticing music.
For nine years I was leading the “Bezirks-
blasorchester Donaustadt”. In this extent I
wrote a lot of music for horn solo and also for
different groups of instruments. Music is the
basic of my life and I´m glad if I can commu-
nicate it to all musicians.

This little piece is not only for kids practic- Yes, and there´s also a light melody inside ac-
ing music but also for all those who are able companied by a string quintet.Have much fun
to stay in the beat. It is based on percussion performing it!
mostly playing in the same rhythm.

Parts for individual instruments are available for download at the composition’s page.
http://www.musicaneo.com/sheetmusic/sm-194791_sha-la-la_song_for_kids.html#194791

www.musicaneo.com Sha-la-la-Song for Kids 43

 Sha-la-la-Song for Kids DIETER ANGERER
q = 100

Flöte        

Gitarre        

Voice        

                     

Glockenspiel 

Sopran Xylophon                                                  

            
Alt Xylophon             

           

Alt Metallophon
             

                     

Woodblock 

                                     
Güiro


                        
Bass Xylophon
 

       
Violine I 

      
Violine II 

Viola        

Violoncello
       


Kontrabass
       

44 Sha-la-la-Song for Kids www.musicaneo.com

2
7 A
Fl.       

Git.       

            
Voice
  
Sha - la - la La - la - la, Sha - la - la La - la - la

             
Glsp.           

Sop. Xyl.                                                 

           
Alt Xyl.              

           
Alt Met.
            

            

W.B.       

Gro.                     

                        
Bass Xyl. 


Vl. I       

Vl. II       

Vla.       

Vc.
      



Kb.      

www.musicaneo.com Sha-la-la-Song for Kids 45

 3
13 B
Fl.       

   
Git.       

             
Voice
    
Sha - la - la La - Sha - la - la Sha - la - la Sha - la - la - la - la - la

         
Glsp.                 

Sop. Xyl.                                                 

           
Alt Xyl.             

           
Alt Met.
            

                  

W.B.   

Gro.                           

                        
Bass Xyl. 


Vl. I       

Vl. II       

Vla.       

pizz.

Vc.       
  



  
pizz.
 

Kb.        

46 Sha-la-la-Song for Kids www.musicaneo.com

4
19

Fl.       

           
   
Git.    

               
Voice
   
Sha - la - la La - la - la Sha - la - la la, Sha - la - la, Sha - la - la.

        
Glsp.                  

Sop. Xyl.                                                 

           
Alt Xyl.             

           
Alt Met.
            

                

W.B.   

Gro.                     

                        
Bass Xyl. 


Vl. I       

Vl. II       

Vla.       


Vc.
  
  

   
  

   
   


            

Kb.            

www.musicaneo.com Sha-la-la-Song for Kids 47

 5
 C           
  
25

Fl.        


                                        
Git.     

Voice       

                 
Glsp.    

                                    
Sop. Xyl.          

                        
Alt Xyl.            

        
   
Alt Met.
       

     
W.B.            

Gro.                 


            
      
Bass Xyl.   


Vl. I         

Vl. II         
 

Vla.                                        

 
                                  
arco
Vc.

    
arco
   

Kb.    

48 Sha-la-la-Song for Kids www.musicaneo.com

6

              
31
    
Fl. 

Git.       

               
Voice
    
Sha - la - la - la - la - la, Sha - la - la La - la - la, Sha - la - la la, Sha - la

              
Glsp.          

Sop. Xyl.                                                 

           
Alt Xyl.             

           
Alt Met.
            

                

W.B.   

Gro.                     

                        
Bass Xyl. 

 
Vl. I       
 

 

 

 

 

 

 

 

 

 





Vl. II         
 

      
 

      
 


      


      
       
  

  

       
  

  

       
 
Vla.


            
                       
Vc.
     

                                    
Kb.
           

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    
37
           
Fl. 

  
Git.            

        
Voice

la, Sha - la - la.

    
                  
Glsp.


 
Sop. Xyl.                             

     
    
Alt Xyl.                    

      
Alt Met.
               

   
            
W.B.      

     
Gro.                  

           
Bass Xyl.            

 
      
pizz.
Vl. I            
    

       
pizz.
Vl. II       
 

   

 
pizz.

  
  

   
  

           
Vla.


     
pizz.

                   
Vc.
  

            

      
pizz.

    
Kb.
  

50 Sha-la-la-Song for Kids www.musicaneo.com

 Suite for the Young for Violin and Cello
by Malcolm Dedman

Malcolm Dedman was born in London, UK,
in 1948. He was taught piano at an early age,
but soon preferred to improvise. Although he
later had formal violin and singing lessons, it
was composition, arising out of improvising
at the piano, that he was most interested in
pursuing.
He had formal lessons in composition with
Patric Standford at the Guildhall School of
Music and Drama in 1974-75, but did not
receive a formal qualification in music until
2005, when he passed his Masters Degree in
Composing Concert Music at Thames Valley
University with distinction.
Malcolm’s earlier writing reflected the de-
velopments in serialism, but within a modal
context. Such works include the first Piano
Sonata – Restoration of 1973 and the String
Quartet of 1977-79. Although he is still at-
tracted to the possibility of different types of
modes, his style has more links with so-called
post-modern idioms. The modal writing
also aims to integrate music from different
cultures. He firmly believes in writing music
that has a message and can be approached by
concert audiences and that such music need
not sacrifice quality.
Major first performances that have been
received well by both audiences and critics
include: Christmas Cantata – ‘The Word was
Made Flesh’ in 1975 (Birmingham); Three
Dance Episodes for oboe, guitar and piano at
the Wigmore Hall in 1977; String Quartet at
the Purcell Room in 1980; Piano Sonata No.
2 – ‘In Search’ at the Purcell Room in 1986
and Two Reflections for piano in 1988, also
at the Purcell Room; and Light of Unity for
two cellos and piano at the Aardklop Festi-
val, Potchefstroom (South Africa) and other
venues in 2010.
He has received performances in England,
Ireland, France, Italy, USA, Brazil, Mexico,
New Zealand and South Africa. Many of
these performances have been received well
by audiences and critics, including two excel-
lent reviews by Anthony Payne.
Malcolm has also gained several composition
awards, including: Brent Music and Dance
Festival in 1969 for a movement from a piano
sonata; Recontres Internationales de Chant
Choral in 1985 for an anthem Come Unto
Me… and Thames Valley University com-
position prize in 2005 for Scherzo for piano
quartet.

This suite of 5 pieces for violin and cello was originally intended for children to play. All the
pieces can be treated as studies and can be played in first position so that the players can con-
centrate on the rhythms and the ensemble with each other.

www.musicaneo.com Suite for the Young for Violin and Cello 51

2

for violin and 'cello 1991, rev. 2008




    4

Lively,  = 100 5
    , 
          
poco staccato

Violin    
 

      ,       
poco staccato

Violoncello 
     

 

       

10

          
Vln. 


 
            
Vc.      


     15
 
Vln. 
                
   
     
               

Vc.   
   

   4      
   
20

Vln.      
    
 

      
          
Vc.  
 

   4   25  
Vln.             
 
  

               
Vc.      
  

52 Suite for the Young for Violin and Cello www.musicaneo.com

 3

     
30
harm.
        
      
Vln. 
  




       
 
    


harm.

Vc.  
   



  
Sadly,  = 80
  5
Vln.              
     
    
   
            

Vc.    
   


      
 
10
      
      
Vln. 
 
      

 più   

Vc. 
          
 più  

  15




Vln. 
                 
  


       
   

Vc.   
 

 
20
 
Vln.    
      

 
    
     

Vc.
 
 

 Slower,
   = 72 25 

Vln.     
       
 

      
Vc. 
      


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4


   pizz.
Lively,  = 132

   
 
5
arco
 
Violin         
   
`  

  
                    
Violoncello 
pizz.

 

  
        
      
15
   
10

pizz.
Vln.      
 

  

            arco

Vc.    
    


 `

        
 
   
20

Vln.       




         pizz.
         
    
Vc.
  

    
                    
arco

25
  
30

Vln.    
 


Vc.      
          

    

  

 pizz. 35

Vln.    
 
             
  
 


                          
arco
 
Vc.   
 

54 Suite for the Young for Violin and Cello www.musicaneo.com

 5

 
,
       
arco 40 45
   
    
 
Vln. 
   

            ,
 


     
      
  
Vc.    
  

                           
50 accel.

Vln.      


    
staccato
              
  
Vc.  


             
Piùmosso,  = 160        
55

Vln.        


     
  


Vc.
         




           
Moderate,  = 88 5

Violin        
  
         
Violoncello         


          
 
15
  
10

Vln.        
 
        
Vc.         
 

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6

 
20

    
Vln.     
cresc. 

      
      
Vc. 
cresc. 

       
25 rit.

Vln. 
   
        
 


        

Vc.  
 

 

      
A tempo

30

Vln.             

    
pizz.
  
     
Vc. 



 35
         
Vln.   
   

cresc.  
  
        
Vc.
 
cresc. 

     
45

                  
40

Vln.  
dim. 



arco


Vc.     
 dim.
 

56 Suite for the Young for Violin and Cello www.musicaneo.com
 7


               
Moderately Fast, . = 72 5

Violin                   
 

        
 


   
Violoncello          
 

    
10

                         
staccato
Vln.  
 

      

staccato legato
Vc.           
 



                   
15

   
 legato
Vln.  

                          


  


Vc.
     


                       
    
20

Vln.             
 

                      



                
Vc.
  

         
        
25
 
Vln.                      
    
cresc. 
    
     
        
Vc.           
cresc. 

www.musicaneo.com Suite for the Young for Violin and Cello 57

8

   
30

   
      
Vln. 
                   

 
              
cresc.

Vc. 
              
   
 cresc.

Sightly Slower,
      ,      
accel.
     = 66
35
   
Vln.                  

                            


,
 
Vc.     


                              
40

Vln.        
 
      
  
    
 
               
Vc.     
  

   
          
45 Faster, . = 88
  
accel.
              
. = 66

      
Vln.   
               
cresc.
    


 
    

 

Vc.         
cresc. 

58 Suite for the Young for Violin and Cello www.musicaneo.com

 The Farmyard
by Sonja Grossner

Sonja Grossner, born in Berkshire. A holiday
trip 1960 turned into a permanent stay in
former East Germany and she subsequently
studied violin and composition with Manfred
Weiss at the “Carl Maria von Weber Hochs-
chule fur Musik “ in Dresden, prior to working
as both a music teacher and a violinist in the
Freiberg Theater Orchestra and the Dresden
Operetta Theater. Following her return to
the UK in 1984 she continued to work as an
instrumental tutor.
1995 she completed her MA in composition
at De Montfort University, studying with
Gavin Bryars. She has completed her PhD at
the Birmingham Conservatoire.

‘The Farmyard’ is a collection of easy pieces for violin and piano aimed at allowing children to
imitate animals at a farm. Can be played either in a group or solo.

The violin part is available for download at the composition’s page.

http://www.musicaneo.com/sheetmusic/sm-168940_the_farmyard.html#168940

www.musicaneo.com The Farmyard 59

 1.The Farmer
(on his way to work) Sonja Grossner


Moderato
 
      
Violin 

 
          
      
Piano   
       
     


 
               
 

    
                
        
 
              
      

   
       
 

  
   

   

       
 
              
     

       
         

      
           
    
    
        
     
 © Sonja Grossner 2004

60 The Farmyard www.musicaneo.com

4 2.Sheep
   Allegretto
         


         
    
  
 
                 
                

   
         

      
   
              
 
                      

   
       
   
 
  
     
  
     
  


                      
   

    
           

    
    
          
 
         
   
                     


www.musicaneo.com The Farmyard 61

 3.Donkeys 5

 
Andantino  
   
   
     

e - or e- or-
    
           
 
      
    
  


 
   
   
     

     
  
 
    
   
        
           
 


      
   
       


  
      
         
   
   
             
   

 
   
  
 

   
       

          
   

62 The Farmyard www.musicaneo.com

6 4.Cockerels
        
Allegro
                


                       
cock a dodel do -
  
     

       
      
       

      
            
               

           
                            
  

      
      
       

         
                   



                 
           
                

    
                   

                    
              

            

              
   

           
     
     

www.musicaneo.com The Farmyard 63

 7
5.Hens and Chicks
  Allegro

              
           


                      
      
              


  

 
                          
              


    
     

              
   

         
                       


           

    
 
 

       
        
  

    
 

     
                   


        
   
       
    
    

         
      


64 The Farmyard www.musicaneo.com

8 6.Cows

Andantino
        

 moo mooo

         
   
        
  
 


         
  
 
          
  
     
            
     


   

  
     
 
 
 
              
           

  
     
                  
 
  
          
      
 
              
       

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 9
7. Horses

 
Moderato
 
         

                
                         

                     
   


pizz
    
     
       

   
       
           

  
                              
  

 
        
           

         
   
     
            
         


 
             
     

       
             
       
       
   
 

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  
        
arco
          

            
            
     
   
                   
      
  
 

  
          


         
       
       











      
  

  
      

         
           
       
    
  





        

   
pizz
     
   


        
        

        
  

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8. Goats
  presto
    

   
mee ee me

            


          
      
    


arco 

                     


  
      
     

  
            
 

   
       
   
    
  
      
   

       
            
 



    
                   


     

      
         
     

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
      
       



                
  

              
        

 

              
        

   
        
     

     
       


     
           
 
 



    
        

                    
 

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 13
9. Ducks and Geese
Allegro 
  
              

quack quack
 
                             

      
           

              
           


                     
   
    
       
 


  

 

 


    
                     


    

                        
   
     
         
     

  
   
                  

                    
   

    
      
    

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   
                    


           
         
    
    
     


    
     


      
                 

        
      
  

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10. Pigs and Piglets

 Allegro   
        
 

   
                 
  
   
                 
 
   


  
      


       
 crescendo 
             
               
  crescendo
      
 
         
       


   
     

   
                    
 

    
            
 
  

  

   
              
     
  
        
                         
   
 
    
             
          
   

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16 11. The Farmyard Cat

 
  Moderato
     
           
 miau miau
         
          
   
 
 
  
                       



       
    

    
chasing mice
                
      
  
    
           

       

     
                      
    
     
                   
         
   

  
                  
 

  
             
               

 

        
 
              
    

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12. The Farmyard Dog

 
Moderato
 
   
  

      
    
   
    
      
                
     
  
       
           
  


   
       
   
     
     
  

  
         
    
     
     
   
     
    

    
            
          
       

    
        
   

     
   

       



    
      
 

74 The Farmyard www.musicaneo.com

18


  
      
        
       
              

   

    
   
            
   


 
    
  
    

      
    
    
   

        
         
 

www.musicaneo.com The Farmyard 75

 19
13. Mice in the Farmyard
Allegro
         
      


        
                   
 
         
            

            
       
      

       
                 
       
     
              
    

          
                  



         

 
 

     
            
 
              
            

       
    
pizz
        

                  
      
   
 
            
         

76 The Farmyard www.musicaneo.com

20
14. The Farmer
(on his way home) arco
Moderato
  
      

     
      
    

  
   
          

 
          
 
          
       
  

       
        

    
        

          
       
 
   

    
                      
  

   
         
        
        

      
       
  
© Sonja Grossner 2004
www.duba3generations.webs.com

www.musicaneo.com The Farmyard 77

 The Letter from Kansas
by Ariel Davydov

Ariel Davydov, composer and musicologist,
member of the Israeli Composers’ Guild and
Composers Union of Russia.
From1988 until 1992 he studied composition
and theory of music in St. Petersburg Con-
servatory (MA), Russia. From 1992 until 1994
he continued his education in the Graduate
School of St. Petersburg Conservatory (PhD),
Russia.
His primary works include: one symphony,
Concerto Grosso for Flute, Oboe and String
Orchestra, Concerto for Double Bass and Or-
chestra, several symphony poems and over-
tures, a ballet suite “This Wonderful World”,
and numerous works for various instruments
and ensembles (Trio for Flute, Harp and
Double Bass “Raghavi 2”, Alto Saxophone and
Piano “Refuges”, etc.). Music by Ariel Davy-
dov has been performed in Argentina, India,
Israel, Kazakhstan, Tajikistan, Russia, the
U.S. and most of European countries.
From 1984 until 2005 he worked as a teacher,
lecturer and assistant professor in various
music institutes of Russia and Israel and gave
private lessons in composition, theory of
music and piano.
Three of his students (Daria Rossokhina,
Pavel Tovpich, and Stanislav Izmailov) won
international young composers’ competi-
tions; two students (Andrei Denisov and Olga
Sedova) graduated from St. Petersburg Con-
servatory with Ph.D. and four with M.A.
Ariel Davydov is a citizen of Russia and
Israel. Since 2005 he has been permanently
living in the USA.

A piece for piano four hands in the country style “A Letter from Kansas” was composed on
January 2011. The premiere took place on June 27, 2011 in New York City at the concert of
piano students of Ariel Davydov.

78 The Letter from Kansas www.musicaneo.com

 The Letter from Kansas
To Mariya Babayeva

Piano Four-Hands Письмо из Канзаса Ariel Davydov

Фортепиано в 4 руки Маше Бабаевой
Ариэль Давыдов

Vivace q = 160
b
& b b b 44 ∑ ∑ ∑ ∑
Piano F
bb b b 4 œ1 œ œ œ œ œ œœ ˙ Œ
œ œœ œœœ œœ Œ
2 3 2 1

˙
5 2

& 4
4

. . œœ. œœ. 5œ
. œœ. œœ. œœ.
? b b 4 Œ œœœ ‰ Œ œœœ ‰ Œ œ
œ ‰ Œ œ ‰ Œ 21 Jœ ‰ Œ Jœ ‰ Œ œ‰Œ œ
J‰
5

bb 4 J
3

J J J J
1

Piano
F
? bb 4 Œ Œ œ Œ Œ Œ
b b 4 œ. œ . œ. œ. œ. Œ œ. Œ
œ.
Œ
2 . 1 2
5 5 5

b
& b bb ∑ ∑ ∑ ∑
5

bbbb
œ œœ œœœ œœ ˙ Œ œ œœ œœœ ˙ Ó
2 1

&
5 3 1 1 1 1 3 2

5œ
. œœ. œœ. œœ. œœ. œœ.
4

œ œ
œ ‰ œœ ‰ Œ Ó
2

? b b Œ 21 œ ‰ Œ œ ‰ Œ œ œ œ
J‰Œ J‰ Œ J‰ Œ
5 1

bb J J
5

J J
3
1

Pno.
? bb
bb Œ œ. Œ œ. Œ Œ œ. Œ Œ Œ
3

œ œ œ
5 4

œ. 2
œ. œ.
1
5 5

©2011

www.musicaneo.com The Letter from Kansas 79

 2 The Letter from Kansas
Письмо из Канзаса

b
& b bb ∑ ∑ ∑ ∑ ∑
9

b b œ1 œ œ œ œ œ
1

b œœ ˙ œ œœ œœœ œœ
Œ œ œœ œœœ Œ
2

& b ˙
3 2 5 2 3
4 5
Fl.

.
œ
œ
.
œ
œ œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ.
? bb Œ œ‰ Œ œ‰ Œ œ ‰ Œ œ ‰ Œ œJ ‰ Œ Jœ ‰ Œ œ ‰ Œ œ ‰ Œ œJ ‰ Œ œJ ‰
9

bb J J J J J J
Pno.
? bb b Œ Œ Œ Œ Œ œ. Œ Œ Œ Œ œ. Œ
2

b œ. œ. œ.
5

œ. œ. œ. œ. œ.

œ4 œ3 b œ2 œ œ œ œ œ bœ œ2 œ œ b œ œ œ œ
bbbb
4
2 3 2

∑ ∑ Œ .. ‰
14

&
1

f
b b b b œ1 œ2 œ1 œ2 œ œœ œœœ
œ œ œ b œ .. œ œ œ œ œ b œ ‰ œ œ œ b œ œœœ
2 3 2 3 3

&
1 3 1 3 2 3 4 5 1

œœ. œœ. .
5œ œœ. 42œœ .
5œ œœ. œœ. œœ.
œ
? b b b Œ œ ‰ Œ œ ‰ Œ 21 œ ‰ Œ 2 œ ‰ œ
.. Œ 21 œ ‰ Œ œ ‰ Œ œ ‰ Œ œ
Œ Ó J‰
14

b J J J J
5

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Pno.
f
? bb b Œ Œ Œ Œ ∑ .. 5 Œ Œ Œ œ Œ
b œ. œ
1
4

œ. œ. œ œ. . œ. .
5

.
œ œ œ nœ œ œ œ œ œ œ œ œ1 œ2 œ œ 2œ b œ œ2 œ œ b œ œ œ œ
bb b b œ œ
4 3 4
2

‰ ‰
19

&
1

bbbb nœ ‰ œ œ œ œ œ œ œ œ œ œ œ œ bœ ‰ œ œ œ bœ œ œ œ
3 1 3 2 3

œ œ œ œ œ
3 2 1 3 2 3 3 2 3 3

&
5 5 1

.
œ
œ
.
œ
œ
.
œ
œ
.
œ
œ œœ. œœ. œœ. œœ.
? bb Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰
19

bb J J J J J J J J
Pno.
? bb 2 Œ Œ Œ Œ Œ Œ Œ Œ
b b œ. œ. œ. œ.
5

œ. œ. œ. œ.

80 The Letter from Kansas www.musicaneo.com

 The Letter from Kansas 3
n œ1 œ œ œ œ œ1 œ1 œ œ œ œ œ 2œ œ ˙
3 4 Письмо из Канзаса

b
2 3

& b bb
5

Œ Ó ∑ ∑ Œ
23

bb b n œ4 œ2 œ œ œ œ Œ Ó œ1 œ œ œ œ œ œœ ˙ Œ ∑ ∑
& b
1 5 2 3

.
œ
œ œœ. œœ œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ.
? b b Œ œ ‰Œ œ œ‰Œ Ó Œ œJ ‰ Œ Jœ ‰ Œ œ œ œ œ œ œ
J‰ J ‰Œ J‰ ŒJ ‰ Œ J‰ Œ J ‰Œ J‰
23

bb J J
Pno.
? bb b Œ Œ Œ Œ Œ
b œ. œ œ œ œ œ2. œ. œ. Œ œ Œ œ.
Œ œ. Œ œ. Œ
œ.
Œ
. 5
.

œ1 œ3 œ œ3 œ1 2œ œ4 œ œ œ3 œ 4œ œ b œ œ
4

b
& b bb ∑ J‰ .. J ‰ Œ Ó
29 1. 2.

bbbb œ2 œ4 œ œ œ œ3 œ ‰ œ œ b œ .. œ4 ‰ Œ Ó
œ œœ œœœ ∑
3 2 2 2

&
5 4 3 4

J J
œ. œ. œ. œœ. 5œ
. œœ. œœ œ
? b b b Œ œœ ‰ Œ œœ ‰ Œ œœ ‰ Œ œ
œ
œ‰ Œ1 ‰ Œ œ‰ Œ Ó .. œJ ‰ Œ Ó
29

b J J J
5

J J 1 J
2
2

Pno.
? bb b .. Œ œ ‰ j ‰ Œ
b œ Œ œ. Œ œ. Œ œ Œ Œ Œ ∑ J œ
4

œ. œ.
5

. . ◊

www.musicaneo.com The Letter from Kansas 81

 Zita in Wonderland
by Stephan Beneking

Stephan Beneking, award-winning composer,
is based in Berlin, Germany. Beneking´s
orginal compositions are in neo-classical,
melodic style for piano solo. The unique
melodies and often deep melancholy in his
pieces attracts listeners all over the world,
even comparing him with the likes of Cho-
pin, Schuman and Schubert. His repertoire
comprises more than 200 piano works so far
and his music is being played by hobby and
professional pianists in many countries.

For a long time I had intended to write some
piano pieces for children and beginners. My
aim was to create original works that are rel-
atively easy to play but nevertheless interest-
ing and challenging modern classical music
in “pure piano Beneking-Style”. Now the 24
miniatures are finished, and I hope that many
people will enjoy them!
As with all my scores, there are no markings
in the scores, because I would like to encour-
age even the beginners (maybe with the help
of their teachers) to develop an individual
interpretation of the piece. Pedal usage is
recommended. Children who can´t reach the
pedal can play the pieces without pedal as
well.
Please feel free to copy and share the book-
let! All pianists, piano teachers and piano
schools can use it without any cost!

82 Zita in Wonderland www.musicaneo.com

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for children and beginners

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by Stephan Beneking
! "

Titles by Lewis Carroll

Illustrations by John Tenniel

For my daughters
Charlotta Isabella Zita Maria
Isabella Charlotta Maria Zita

© Copyright Stephan Beneking

www.beneking.com
Berlin, 2013

www.musicaneo.com Zita in Wonderland 83

 Book I

!
Zita´s Adventures
!
! in Wonderland
!

84 Zita in Wonderland www.musicaneo.com

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www.musicaneo.com Zita in Wonderland 85

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Chapter 2
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86 Zita in Wonderland www.musicaneo.com

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 Book II

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98 Zita in Wonderland www.musicaneo.com

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102 Zita in Wonderland www.musicaneo.com

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