SKU: HL.364346
ISBN 9781705134283. UPC: 840126958652. 9.0x12.0x0.266 inches.
Strum Together songbooks feature melody, lyrics, and chord diagrams for five popular folk instruments displayed together in an easy-to-use format. With this edition, you can play 47 Dylan classics on ukulele, baritone ukulele, guitar, mandolin, and/or banjo! This is a great resource for stringed instrument players who are ready to experience the fun of making music together. Songs include: All Along the Watchtower • All I Really Want to Do • Blowin' in the Wind • Forever Young • Girl from the North Country • Gotta Serve Somebody • A Hard Rain's A-Gonna Fall • Highway 61 Revisited • It Ain't Me, Babe • Jokerman • Just like a Woman • Knockin' on Heaven's Door • Lay, Lady, Lay • Like a Rolling Stone • Maggie's Farm • Mr. Tambourine Man • Quinn, the Eskimo (The Mighty Quinn) • Tangled up in Blue • The Times They Are A-Changin' • and more.
SKU: PR.114422450
ISBN 9781491134986. UPC: 680160685974. 9 x 12 inches.
Bachâs colossal Partita No. 2 for Solo Violin has been crowned by many masters as one of musicâs greatest achievements, and even its famous Chaconne movement alone is a mountain many performers dare not scale. While the literature of several other instruments has been enriched by transcriptions of the Chaconne, Mazzantiâs heroic adaptation of the complete Partita is the culmination of many yearsâ work, and the only transcription specifically for the piccoloâs unique range.THE INSPIRATIONEver since my childhood, Johann Sebastian Bachâs solo violin music (like his works for solo cello) has always held a charm and mystery for me. Thereâs something about this repertoire that sparks an inextinguishable questioning in my musical and human soul.It is music without spatial limits or temporal cages, a music as essential as it is masterfully complex, in which the solitary voice of man meets the all-encompassing voice of God. It is a music whose vertical and horizontal dimensions, already admirably fused, are faceted into new and mysterious realities. For every violinist, the study of these compositions is at the apex of tenacious technical study and interpretative effort.Violinist Joshua Bell has said the Ciaccona (Bach did write the Partitaâs movement titles in Italian) is ânot just one of the greatest pieces of music ever written, but one of the greatest achievements of any man in history. Itâs a spiritually powerful piece, emotionally powerful, structurally perfect.âTranscribing and performing Bachâs PARTITA NO. 2, BWV 1004 on piccolo was a feat that took years of work. The famous Ciaccona movement is, of course, the piece that alone occupied most of this time. How does one honor and elevate such high music with such a âsmallâ instrument, devoid of the enormous expressive potential of the violin, devoid of its chords and its polyphony? How might I transform the piccolo into an instrument with, like the violin, full-bodied low notes and subtle high notes? Above all, why undertake such a demanding and extraordinary journey?The first reason is obvious: by transcribing, studying, and performing such an admirable piece, we assimilate it, it becomes part of us, it enormously enriches our musical interior.In addition, it forces us technically to expand the colors, agility, and flexibility of the instrument; it makes us think in a polyphonic way.Finally, the daily study, especially of the Ciaccona, is an extraordinary gymnasium in which to consolidate and strengthen our general technique.THE TRANSCRIPTIONThe whole Partita was transcribed in the key of A minor, a fifth above the original in D minor. This was necessary for the lowest note of the violin (G) to correspond to the lowest note of the piccolo (D). This version exploits the full range of the piccolo, from the D of the first octave to the B of the third octave. However some octave adjustments were needed.The chords, particularly in the Sarabanda and the Ciaccona, have been left with the same notational system used by Bach in his version for violin. I chose to respect Bachâs presentation and did not transcribe these into grace notes breaking the chords. I advocate that we must at least try to think of this music in its vertical dimension, trying to make the notes resonate as if they were being played together, deciding the speed of the arpeggio based on musical needs.While some woodwind editions of Bachâs string solos do indicate broken chords as grace notes, this implies that the most important note is necessarily the highest one, while sometimes it is precisely in the lower pitches that the theme is voiced.In this piccolo adaptation, many of Bachâs original articulations have been respected. Some have been changed, when needing to adapt them to the specific needs of flute playing.The two passages in the Ciaccona where Bach indicates âarpeggioâ were rendered trying to respect the most consolidated and virtuous violin traditions, and at the same time the possibilities that the piccolo offers us. For this purpose, in some cases, different revoicings of the chords have been used.I thank all those who patiently listened to me and were close to me during this period, for their observations and advice. In particular, I thank my daughter Sara for her assistance and skill in entering this edition into music writing software.
SKU: BT.MUSRG10450
ISBN 9781844499748.
A special selection of songs that reflect the magic and mystery of Lloyd Webber's compelling production. The Woman In White is a compelling tale of love, betrayal and greed, Walter Hartright's life is changed foreverafter a chance encounter with a mysterious woman, dressed in white, desperate to reveal her chilling secret. A terrific selection of nine songs, all beautifully arranged for Piano and Voice with Guitar chords.
SKU: HL.383303
ISBN 9781705154137. UPC: 196288021421. 9.0x12.0x0.666 inches.
Do you need a perfect contemporary song for a vocal audition or performance? The Singer's Anthology of Pop/Rock Ballads gives you over 30 pop/rock classics to choose fromââall transposed into appropriate keys and based on the original recorded hits. These songs fall into the new wave of standards that you are hearing more often at cabaret, concerts, and special occasions. These songs are most often identified with singer-songwriters, so this collection features the work of Billy Joel, Carole King, Adele, and others. These arrangements were custom made for this collection as authentic performing editions, friendly to both the singer and accompanist. Keys were carefully chosen, either preserving the original recorded key or transposing as near the original as possible to increase accessibility. This volume is presented in separate editions for Soprano/Alto and Tenor/Baritone, with some songs shared between the two, and others specific to the voice type. The Soprano/Alto edition features 31 songs, including: All by Myself ⢠At Last ⢠Don't Know Why ⢠Hallelujah ⢠Hello ⢠I Can't Make You Love Me ⢠I Will Always Love You ⢠Killing Me Softly with His Song ⢠Landslide ⢠Million Reasons ⢠(You Make Me Feel Like) A Natural Woman ⢠New York State of Mind ⢠She Used to Be Mine ⢠Someone like You ⢠A Thousand Years ⢠Time After Time ⢠When We Were Young ⢠Will You Love Me Tomorrow (Will You Still Love Me Tomorrow) ⢠and more.
SKU: PR.31241902S
UPC: 680160690589. English.
Commissioned by the San Francisco Choral Society and the Piedmont East Bay Children’s Choir, Terra Nostra is a 70-minute oratorio on the relationship between our planet and humankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. Part I: Creation of the World explores various creation myths from different cultures, culminating in a joyous celebration of the beauty of our planet. Part II: The Rise of Humanity examines human achievements, particularly since the dawn of our Industrial Age, and how these achievements have impacted the planet. Part III: Searching for Balance questions how to create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. In addition to the complete oratorio, stand-alone movements for mixed chorus, and for solo voice with piano, are also available separately.Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World†by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child†praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!†Part I ends with “A Blade of Grass†in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall†sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,†William Ernest Henley’s “A Song of Speed,†and John Gillespie Magee, Jr.’s “High Flight,†each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,†Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge†concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness†speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming†gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us†warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace†speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?†and “There was a child went forth every dayâ€) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass†from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…â€My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?
SKU: PR.312419020
ISBN 9781491131862. UPC: 680160680474. 6.875 x 10.5 inches. English.
SKU: PR.31241902A
UPC: 680160690510. English.
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