SKU: HL.235867
ISBN 9781495095634. UPC: 888680694746. 9.0x12.0x0.269 inches.
50 great folk favorites simply arranged with lyrics for beginning pianists to learn. Includes: Amazing Grace • Buffalo Gals (Won't You Come Out Tonight?) • Down by the Riverside • Good Night Ladies • Home on the Range • I've Been Working on the Railroad • Kumbaya • Man of Constant Sorrow • Michael Row the Boat Ashore • My Old Kentucky Home • Nobody Knows the Trouble I've Seen • Oh! Susanna • The Red River Valley • Scarborough Fair • She'll Be Comin' 'Round the Mountain • This Little Light of Mine • Turkey in the Straw • The Wabash Cannon Ball • When the Saints Go Marching In • Yankee Doodle • The Yellow Rose of Texas • and more.
About First 50
You've been taking lessons, you've got a few chords under your belt, and you're ready to buy a songbook. Now what? Hal Leonard has the answers in its First 50 series. The First 50 series steers new players in the right direction. These books contain easy to intermediate arrangements for must-know songs. Each arrangement is simple and streamlined, yet still captures the essence of the tune.
SKU: HF.FH-2105
ISBN 9790203421054. 9 x 12 inches.
1. Hauptlingsworte; 2. Eisbaren-Ballett; 3. Laternenfest; 4. Ballade; 5. Friedlich vereint; 6. Unbeschwert; 7. Marsch der Klopfer; 8. Spielerei; 9. Glockenklang; 10. Immer lustig; 11. Texas Train; 12. Blues for you.
SKU: FJ.FJH2133
ISBN 9781569398647. UPC: 674398227785. English.
This collection of seven intermediate/late intermediate level solos offers an assortment of colorful new arrangements, which include four NFMC selections from the 2011--- 2013 bulletin. Selections include: Red River Valley Rock; Let Us Break Bread Together; Cool Jazz Clementine; Just a Closer Walk with Thee; Careless Love; The Yellow Rose of Texas; and Poor Wayfaring Stranger.
SKU: HL.381031
ISBN 9781705152423. UPC: 196288019435. 9.0x12.0x0.292 inches.
It's super easy! This series features accessible arrangements for piano, with simple right-hand melody, letter names inside each note, basic left-hand chord diagrams, and no page turns. The arrangements also include lyrics. This big edition includes 60 folk favorites: Auld Lang Syne * Aura Lee * Beautiful Dreamer * Buffalo Gals (Won't You Come Out Tonight?) * (Oh, My Darling) Clementine * Cockles and Mussels (Molly Malone) * Danny Boy * Deep River * For He's a Jolly Good Fellow * Frankie and Johnny * He's Got the Whole World in His Hands * My Bonnie Lies over the Ocean * My Wild Irish Rose * Nobody Knows the Trouble I've Seen * 'O Sole Mio * Sailing, Sailing * Scarborough Fair * She'll Be Comin' 'Round the Mountain * Simple Gifts * Skip to My Lou * Take Me Out to the Ball Game * Wayfaring Stranger * Wellerman * When Johnny Comes Marching Home * When the Saints Go Marching In * The Yellow Rose of Texas * and more.
SKU: HL.142832
UPC: 888680051297. 6.75x10.5 inches.
Three classic songs of the American west combine in this short medley that is ideal for mixed and male choirs, especially in programs of folk or American themes. Includes: The Old Chisholm Trail; Whoopee Ti-Yi-Yo, Git Along Little Dogies; The Yellow Rose of Texas.
SKU: CY.CC3087
ISBN 9790530110645. 8.5 x 11 in inches.
Hill Country Miniatures for 8-part Trombone Ensemble was written by Richard J. Lawn in 2002 for the Trombone Choir at the University of Texas and its director Nathaniel Brickens. The work is dedicated to Donald Knaub its former director. It has become a staple in the American Trombone Ensemble repertoire since its original release. Mr. Lawn explains in the notes, his deep emotional connection to the Hill Country land and to his days at the Eastman School of Music, hearing the legendary Trombone Choir led by Emory Remington and following through to his days at the University of Texas with Knaub and Brickens, all of which inspired him to compose this work. This music is about 15 minutes in length and is for advanced performers. The four movements of the work are: Hickory Cove - September 2001 - a lyrical, somber and solemn introductory movement. Smithwick - a jaunty piece reflecting the Scottish and English heritage of this tiny Texas spot. The Narrows - As part of the Colorado River narrows, it twists and turns its way through the Texas Hill Country. You can hear the gentle waters winding through the cliffs and slopes. Blue Bonnet Boogie - The springtime brings a profusion of the Blue Bonnet, the Texas state flower. A sea of these swaying in the breeze brings out the good old down-home boogie-woogie! A jazz solo featuring Bass Trombone (written for Bill Reichenbach in mind) with solo written out or improvised using chord symbols adds a festive finish. Cherry Classics is proud to be the new distributor of this great work.
SKU: CF.CM9570
ISBN 9781491153581. UPC: 680160911080. 6.75 x 10.5 inches. Key: Bb major. Latin. Psalms 47 from the Bible.
Psalm 47 was commissioned by the Sigma Alpha Iota Chapter of Hardin Simmons University (Abilene, Texas), Suzanne Watts, conductor, back in 1978. I was a graduate student at the time, and the premiere was a great success. Consequently, the work has received many performances since that time; however, it remained unpublished until now. In a modified tripartite structure, the psalmist uses the imperative verb tense as a command to the people: (you clap), (you shout), (you sing) to exemplify that praise and joy should be public, intelligent, cheerful, and constant. The psalmist admonishes that praise and joy are visual, aural, palpable, and most definitely contagious. The contrasting slow section with a soprano solo should be like an accompanied arioso, where the soloist is supported by lush, major/minor seventh chords in inversion (accompanied recitative). The soloist actually becomes the narrator in this section, the preacher or deliverer of the news that the people will be protected, sustained and blessed. The rapid tempo of the A-section returns and the staggered entrances in the last section/coda indicate the ecstasy knowing that belief can manifest itself in individualized, energized, emotional responses that can change the world. Rise up and claim the power of JOY!.Psalm 47A was commissioned by the Sigma Alpha Iota Chapter of Hardin Simmons University (Abilene, Texas), Suzanne Watts, conductor, back in 1978. I was a graduate student at the time, and the premiere was a great success. Consequently, the work has received many performances since that time; however, it remained unpublished until now. In a modified tripartite structure, the psalmist uses the imperative verb tense as a command to the people:A (you clap), (you shout), (you sing) to exemplify that praise and joy should be public, intelligent, cheerful, and constant. The psalmist admonishes that praise and joy are visual, aural, palpable, and most definitely contagious. The contrasting slow section with a soprano solo should be like an accompanied arioso, where the soloist is supported by lush, major/minor seventh chords in inversion (accompanied recitative). The soloist actually becomes the narrator in this section, the preacher or deliverer of the news that the people will be protected, sustained and blessed. The rapid tempo of the A-section returns and the staggered entrances in the last section/coda indicate the ecstasy knowing that belief can manifest itself in individualized, energized, emotional responses that can change the world. Rise up and claim the power of JOY!.Psalm 47 was commissioned by the Sigma Alpha Iota Chapter of Hardin Simmons University (Abilene, Texas), Suzanne Watts, conductor, back in 1978. I was a graduate student at the time, and the premiere was a great success. Consequently, the work has received many performances since that time; however, it remained unpublished until now. In a modified tripartite structure, the psalmist uses the imperative verb tense as a command to the people: (you clap), (you shout), (you sing) to exemplify that praise and joy should be public, intelligent, cheerful, and constant. The psalmist admonishes that praise and joy are visual, aural, palpable, and most definitely contagious. The contrasting slow section with a soprano solo should be like an accompanied arioso, where the soloist is supported by lush, major/minor seventh chords in inversion (accompanied recitative). The soloist actually becomes the narrator in this section, the preacher or deliverer of the news that the people will be protected, sustained and blessed. The rapid tempo of the A-section returns and the staggered entrances in the last section/coda indicate the ecstasy knowing that belief can manifest itself in individualized, energized, emotional responses that can change the world. Rise up and claim the power of JOY!.Psalm 47Â was commissioned by the Sigma Alpha Iota Chapter of Hardin Simmons University (Abilene, Texas), Suzanne Watts, conductor, back in 1978. I was a graduate student at the time, and the premiere was a great success. Consequently, the work has received many performances since that time; however, it remained unpublished until now.In a modified tripartite structure, the psalmist uses the imperative verb tense as a command to the people:Â (you clap), (you shout), (you sing) to exemplify that praise and joy should be public, intelligent, cheerful, and constant. The psalmist admonishes that praise and joy are visual, aural, palpable, and most definitely contagious. The contrasting slow section with a soprano solo should be like an accompanied arioso, where the soloist is supported by lush, major/minor seventh chords in inversion (accompanied recitative). The soloist actually becomes the narrator in this section, the preacher or deliverer of the news that the people will be protected, sustained and blessed. The rapid tempo of the A-section returns and the staggered entrances in the last section/coda indicate the ecstasy knowing that belief can manifest itself in individualized, energized, emotional responses that can change the world.Rise up and claim the power of JOY!
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, aheadâ€, “Steady and committed…the climb begins!â€, “Straining against the gradeâ€, 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 Topâ€), 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).
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