15 Favourite Hymns for Thanksgiving and Harvest for Bass Clarinet and Piano is a beautiful collection of well-known traditional Thanksgiving and Harvest hymns, carefully chosen to help you celebrate this special time of year with music. Each hymn is arranged for solo Bass Clarinet and Piano. The file contains both the piano score and a separate part for the solo instrument.

15 Favourite Hymns for Thanksgiving and Harvest are simply arranged in easy keys and are fun to play for musicians with a year or two?s experience and above. Teachers and students alike will find 15 Favourite Hymns for Thanksgiving and Harvest useful for building reading, rhythmic and expressive skills.

The hymns are in alphabetical order and are as follows?

� All Things Bright and Beautiful, (The 29thMay)

� Come Thou Fount of Every Blessing, (Nettleton)

� Come, Ye Thankful People Come, (St George?s, Windsor)

� Count Your Blessings, (Blessings)

� For All the Blessings of the Year, (Oldbridge)

� For the Beauty of the Earth, (Dix)

� Now Thank We All Our God, (Nun Danket)

� O Store Gud, (Trad. Swedish, also used for How Great Thou Art)

� Praise God from Whom All Blessings Flow, (Old Hundredth)

� Praise My Soul, the King of Heaven, (Laude Anima)

� Praise to the Lord, the Almighty, (Lobe den Herren)

. Rejoice Today with One Accord, (Ein Feste Burg)

� We Gather Together, (Kremser)

� We Plough the Fields and Scatter, (Wir Pfl�gen)

� When Morning Gilds the Skies, (Laudes Domini)

There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203

Arranged for Bb Clarinet, Bb Bass Clarinet and Piano, "Tico-Tico no fub�" ("sparrow in the cornmeal", or, literally, "rufous-collared sparrow in the cornmeal") is a Brazilian choro song written by Zequinha de Abreu in 1917. A great duet for your next performance, sure to be a big hit with your audience!

Its original title was "Tico-Tico no farelo" ("sparrow in the bran"), but since Brazilian guitarist Am�rico Jacomino "Canhoto" (1889?1928) had a work with the same title, Abreu's work was given its present name in 1931, and sometime afterward Aloysio de Oliveira wrote the original Portuguese lyrics.

Eros Volusia and her dancers dance to "Tico-Tico" in 1942 Rio Rita. Ethel Smith performed "Tico-Tico" onscreen in Bathing Beauty (1944). Carmen Miranda performed "Tico-Tico" onscreen in Copacabana (1947); It was also featured in the "Aquarela do Brasil" segment of the Walt Disney film Saludos Amigos (1942) and in Woody Allen's Radio Days (1987).

In Quebec the song has been used for several decades in commercials for Sico paint.

In season three of Mama's Family episode "An Ill Wind," an intoxicated Iola briefly sings the song's chorus before passing out onto a bed.

This song can be heard on various episodes of the Belgian Kabouter Wesley cartoon.

In season one of Narcos: Mexico, episode 3 ("El Padrino?), the orchestral version of the song is played by a band during a reception. A biographical movie about Zequinha de Abreu with the same title, Tico-Tico no Fub� was produced in 1952 by the Brazilian film studio Companhia Cinematogr�fica Vera Cruz, starring Anselmo Duarte as Abreu.

The title phrase also features in the lyrics to the song "O Pato" made famous by Jo�o Gilberto.

Choro (Portuguese pronunciation: [and#712;and#643;oand#638;u], "cry" or "lament"), also popularly called chorinho ("little cry" or "little lament"), is an instrumental Brazilian popular music genre which originated in 19th century Rio de Janeiro. Despite its name, the music often has a fast and happy rhythm. It is characterized by virtuosity, improvisation and subtle modulations, and is full of syncopation and counterpoint. Choro is considered the first characteristically Brazilian genre of urban popular music. The serenaders who play choros are known as chor�es.

'Point forms' was suggested by a group of five diagrams found in Wassily Kandinsky's book Point and Line and Plane. Many explanations of the geometric shapes, including Kandinsky's use of the words 'stippled', 'sprayed' and 'compact' suggested musical ways to amass textures. line development and manipulation, for example by the interleaving of one idea temporarily intertwined with a previous one, allow the form to determine its own organic development. In writing for the specific quality of the basset clarinet, which extends the pitch range of the normal A clarinet, the structure of the piece allows various timbres and extended effects to come to prominence as mood and momentum change. Static or forward-moving, playful, aggressive or wailing, the musical narrative seeks through abstract paths to communicate an 'inner beauty' as well as 'inner necessity'. Processes in the work are often varied as they are repeated, in a single line or between the two performers, echoing Kandinsky's proposition that 'forces coming from without, which transform the point into a line, can be very diverse indeed. 'Point forms' was commissioned by the Rushworth Trust, and is dedicated with affection to Mark Simpson. Ken Hesketh (2010).