SKU: HL.1220755

UPC: 196288142508. 6.75x10.5x0.029 inches.

Now available for SAB! “In a far land upon a day where never snow did fall, Three kings went riding on the way, bearing presents all.” The beautiful poetry of Eleanor Farjeon provides the perfect canvas for Philip Lawson's musical talents. Simply stunning!

SKU: FJ.FJH1415

ISBN 9781569393529. UPC: 674398213962. English.

The sights and sounds of a festive parade come alive in this collection: Fife and Drum, Tuba Tune, Holiday Fanfare, Walking on Stilts, Riding a Float, Clowns and much more. Traditional scale and chord patterns make these pieces easy to learn (keys of C, F, and G), and provide a good supplement to any piano method.

About FJH Composers in Focus

Composers in Focus is a series of original piano collections celebrating the creative artistry of contemporary composers. It is through the work of these composers that the piano teaching repertoire is enlarged and enhanced.

SKU: HL.14027049

2.75x4.25x0.65 inches. English.

An imaginative retelling of the traditional story of Little Red Riding Hood, with some very innovative twists and appealing pantomime routines. The Teachers book contains background notes on the origins of folklore and myths, placing the tale in the context of a long European tradition. Easy-to-play piano part with optional percussion and panto sound effects. The choir performs songs, action and dance routines. If you need to license a school/youth theatre performance of this product, please use the online application form.

SKU: HL.35031960

ISBN 9781540014870. UPC: 888680722654. 5.0x5.0x0.083 inches.

Set hearts soaring with this joyful Christmas cantata based on American folk songs, spirituals, bluegrass-styled carols and original gospel songs. Traditional choral elements dance easily with the rustic qualities of the mountain music and the results are pure joy. Designed to be performed either with piano alone or with the unique bluegrass consort, this work is a celebration of light. Even the narration has a gentle folk quality, adding to the dramatic potential of your presentation. Experience the work that, after its Carnegie Hall debut, left New York critics ebullient with praise! Songs include: Hear the Wondrous Story; The King Shall Come; Star of Promise, Light of Glory; A Morning Star Will Rise; Mary Went a-Riding; O Little Town; Here Comes the Light; A Christmas Answer; A Little Light Was Born. Score and Parts (fiddle, banjo, mandolin, acoustic guitar, upright bass, drums) available as a Printed Edition and as a digital download.

SKU: HL.35031963

ISBN 9781540014900. UPC: 888680722685. 4.75x5.0x0.941 inches.

Set hearts soaring with this joyful Christmas cantata based on American folk songs, spirituals, bluegrass-styled carols and original gospel songs. Traditional choral elements dance easily with the rustic qualities of the mountain music and the results are pure joy. Designed to be performed either with piano alone or with the unique bluegrass consort, this work is a celebration of light. Even the narration has a gentle folk quality, adding to the dramatic potential of your presentation. Experience the work that, after its Carnegie Hall debut, left New York critics ebullient with praise! Songs include: Hear the Wondrous Story; The King Shall Come; Star of Promise, Light of Glory; A Morning Star Will Rise; Mary Went a-Riding; O Little Town; Here Comes the Light; A Christmas Answer; A Little Light Was Born. Score and Parts (fiddle, banjo, mandolin, acoustic guitar, upright bass, drums) available as a Printed Edition and as a digital download.

SKU: PR.165000970

ISBN 9781491100462. UPC: 680160626717. 9x12 inches.

Commissioned by a consortium of 20 high school and university bands coordinated by Scott Hanna of the University of Texas at Austin, Downshifting is inspired by Welcher’s joy of bicycle riding. Welcher explains in the program note: When I decided to write a piece for band that was basically entertaining and uplifting, it made perfect sense to call it Downshifting... With three gears on the front sprocket and seven on the rear, it’s possible to keep one’s legs going at a constant speed (for me, q = 126) while the bike itself may be moving very slowly or very quickly. I determined to capitalize on this in writing Downshifting, which keeps the same mathematical inner pulse, ‘shifting’ (with a ratchet) as the terrain changes..
One of the joys of life for me is riding my 21-speed bicycle.  As a basically non-athletic person who nonetheless likes to stay in shape, I have found that riding my bike provides just the exercise I need.  The workout is strenuous, but pleasant—and the infinite variety of scenery I pass keeps me alert and wide awake.  When I decided to write a piece for band that was basically entertaining and uplifting, it made perfect sense to call it Downshifting.With three gears on the front sprocket and seven on the rear, it’s possible to keep ones legs going at a constant speed (for me, that’s 126 to the quarter note) while the bike itself may be moving very slowly or very quickly.  I determined to capitalize on this in writing the music, which manages to keep the same mathematical inner pulse, “shifting” (with a ratchet) as the terrain changes.  So Downshifting begins with that steady pulse, on a grid of eighth notes in 2/4 to propel the little vehicle forward.  There’s a joyous little tune in our heads as we begin our ride.  As the initial thrill of riding on the flat gives way to monotony, we stay in that pulse for the first minute or so of the ride.  Then, as the first hill becomes visible, we shift the bike down: even though the eighths are equal, the pulse feels slower (and we’re now in 6/8 time).  Ultimately the compound meter shifts again as the climb begins, and we’re now plodding doggedly up the hill.  (The music reflects all of these changes, with subtitles such as “Working harder—Seeing the climb, ahead”, “Steady and committed…the climb begins!”, “Straining against the grade”, etc.).There are two hills, and two long climbs (but in different keys, reflecting the change in scenery).  When at last the summit of the second hill is reached (“Flying, Over the Top”), we coast at last down the other side at breakneck speed.  The initial joyous melody returns, but now in a spread-out coasting pulse.  At the end of the ride, we slow to a stop—then take one last sprint (shifting five times in the process) in order to end on a biker’s high.Downshifting was commissioned by a consortium of fourteen high school and college bands, overseen by my longtime colleague at the University of Texas, Scott Hanna.  The piece is dedicated to him (and to all bicycle enthusiasts).