Recorded by The Fratellis this rock anthem has become a fan favorite in sports arenas in the US as well as Europe. The bluesy yet upbeat shuffle feel make it a unique offering for the field or stands.

Based on the famous version recorded by Ike & Tina Turner this rock and roll classic takes on new life for the field or stands. Almost reverent in the chorale-like opening hold on to your plume when it kicks into high gear for the rest of the chart.

Score and Parts-Fanfares to Music was commissioned by the Lincoln Center and first performed in 1993. Antiphon was written for the dedication of the new Apex field house in New York in 1994. For DoubleBrass Quintet.

This sensitive and carefully paced chart is a beautiful change of pace for the field. Creatively scored in a very musical setting.

Level 2 Upper Elementary Level-15 piano solos with lyrics that portray popular sports: Baseball - Basketball - Bowling - Football - Golf - Gymnastics - Hockey - Horseback Riding - Skating - Skiing - Soccer - Swimming and Diving - Tennis - Track and Field - Volleyball.

This sensitive and carefully paced chart is a beautiful change of pace for the field. Creatively scored in a very musical setting.

(Test Drive/Coming Back Around) This stunning finale for your Dragon show features the powerful main themes from the soundtrack carefully paced for maximum effect on the field. The dramatic reprise section includes a touch of Scottish style drumming for added flare.

Here's a rock solid hit from the Beatles' later years made famous by their live rooftop performance in London. A perfect opener for a field show or just rockin' the stands.

Here is a medium swing treatment of this familiar Beatles' tune that provides plenty of variety and impact for the field. The low brass is featured at the start and later the full band gets a chance to really open up. Alsoincluded is an optional small band feature section.

Par . The musical appeal of the Blues, as they began to be heard in the early twentieth century, was so infectious that musicians with open minds and ears were drawn to it as soon as they heard it. And that appeal crossed the racial and ethnic divides that characterized American society. So it was, that even before African American guitarists were recorded playing fingerstyle blues guitar, their white neighbors had already begun learning the music?listening to, watching, and imitating the musicians whose music they so admired. And what these white musicians ended up expressing in their own playing and singing was not simply imitation, but their own reconfiguration of what their models did, played in accordance with their own senses of rhythm, phrasing and how to sing the music.In Hillbilly Fingerstyle Blues Guitar, author John Miller offers transcriptions, in tablature and standard notation, of twenty-eight pieces by these white fingerstyle blues players, taken from recordings made in the period 1926?1970. Some of the featured musicians in the book, like Sam McGee, Frank Hutchison, Maybelle Carter, Hobart Smith, and Roscoe Holcomb are pretty well known, but the tunes by more obscure players like Debs Mays, Lake Howard, or Lester McFarland certainly don?t suffer by comparison, and in many instances are spectacular. The pieces have been chosen for variety, too?you?ll encounter pieces played in C, E, and A in standard tuning, as well as songs in Open G, Open D tunings and an exotic offshoot of Open G tuning. Downloadable links to all of the original performances from which the transcriptions were made come with the book, so you can get the sound of the tunes in your head. The musicians in Hillbilly Fingerstyle Blues Guitar gravitated towards the Blues because the music spoke to them so strongly that they felt compelled to make it part of their own musical language. And they did just that. These performances are strong and worthwhile in their own right, but they?ll also show you how you can honor those who have inspired you by singing and playing in your own voice. And that?s an important lesson to learn. Includes access to online audio. / Date parution : 2021-11-03/ Recueil / Guitare

A Musical play with words by John Oliver and music by Betty Roe. This is the script containing all song lyrics stage directions and dialogue. Set in the late 18th century this fictional play is about a mining village on the outskirts of Shrewsbury once a thriving mining area and examines the changes that occur to the landscape over time. The play has been designed without set scenes or sets; one scene flowing into the next and using only really lighting for added effect so is suitable for most groups of varying size and ability.