For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Folk. Series: Hal Leonard Fake Books. 536 pages. 9.6x12 inches. Published by Hal Leonard.

Autoharp and chromaharp - Intermediate

SKU: MB.30367M

Composed by Evo Bluestein. Saddle-stitched, Method, Folk. Dirt Simple. Style. Book and online audio. 36 pages. Mel Bay Publications, Inc #30367M. Published by Mel Bay Publications, Inc (MB.30367M).

ISBN 9780786696345. 8.75 x 11.75 inches.

In this book and accompanying audio, Autoharp hall of famer Evo Bluestein provides a beginning approach to a repertoire of songs and fiddle tunes popular in old-time and bluegrass circles. Basic rhythm, chord accompaniment, lyrics and music notation make this book useful for other lead instruments as well, including fiddle, mandolin and voice. A more advanced approach can be found in Evo Bluesteins book Autoharp in Four Easy Steps, published by Mel Bay. More books and DVDs are available at www.evobluestein.com. Bluestein is known as an expert player in the style pioneered by the late Autoharp master Kilby Snow. Bluestein has also developed two successful and popular brands of Autoharp, The Evoharp and the Sparrowharp, built by two world class Autoharp luthiers. In addition to helping many adults learn music on the Autoharp for over thirty years, children in numerous schools have learned to play and sing using the Autoharp in programs that Bluestein has implemented. He is also an accomplished dance caller, teaching folk dance as an independent contractor throughout California schools. Bluestein is co-founder of the California Autoharp Gathering. Includes access to online audio featuring Evo Bluestein.

(For Soprano and Ensemble). By Oliver Knussen (1952-). For Pending. Book; Vocal Collection. Faber Edition. 20th Century; Masterwork. Published by Faber Music

By Ralph Vaughan Williams (1872-1958). For Women's chorus and orchestra/chamber orchestra/strings and piano (Original instrumentation: [2.2.2.2-4.2.3.1], timpani, 3 percussion, harp, celeste, organ, strings / Reduced instrumentation: [2.1.2.1-2.2.0.0], timpani, harp, organ, strings and piano). Upper Voices. Contemporary Choral Works. Vocal score. Duration 45'

By Mack Wilberg (1955-). For SATB choir and piano 4-hands/chamber orchestra (3 flutes ( piccolo), 2 oboes, 2 clarinets, 2 bassoon, 4 horn, percussion, harp, strings). Mixed Voices. Sacred Choral Leaflet. Vocal score. 12 pages. Duration 2'

Band Concert Band

SKU: PR.465000130

For Large Wind Ensemble. Composed by Dan Welcher. Sws. Contemporary. Full score. With Standard notation. Composed 2010. Duration 14 minutes. Theodore Presser Company #465-00013. Published by Theodore Presser Company (PR.465000130).

ISBN 9781598064070. UPC: 680160600144. 9x12 inches.

Following a celebrated series of wind ensemble tone poems about national parks in the American West, Dan Welcher’s Upriver celebrates the Lewis & Clark Expedition from the Missouri River to Oregon’s Columbia Gorge, following the Louisiana Purchase of 1803. Welcher’s imaginative textures and inventiveness are freshly modern, evoking our American heritage, including references to Shenandoah and other folk songs known to have been sung on the expedition. For advanced players. Duration: 14’.
In 1803, President Thomas Jefferson sent Meriwether Lewis and William Clark’s Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies.Ihave been a student of the Lewis and Clark expedition, which Thomas Jefferson called the “Voyage of Discovery,” for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri — and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs — hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing — and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes.Ihave written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesn’t try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jefferson’s vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III .The music includes several quoted melodies, one of which is familiar to everyone as the ultimate “river song,” and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzatte’s fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis’ journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), V’la bon vent, Soldier’s Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune “Beech Spring”) and Fisher’s Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jefferson’s Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny.

Orchestra small setting: speaker, soloists and SSATTB choir, flute, bassoon, trumpet in C, violin, viola, cello, organ; orchestra version: speaker, soloists and SSATTB choir, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, trumpet in C, harp ad lib, 2 violins,

SKU: CA.1037811

Christmas cantata. Composed by Ferenc Farkas. Edited by Andras Farkas. Ein Krippenspiel. Orchesterfassung. Sacred vocal music, Christmas. Single Part, Violin. Composed 1970. 4 pages. Duration 21 minutes. Carus Verlag #CV 10.378/11. Published by Carus Verlag (CA.1037811).

ISBN 9790007190910. Language: German/English/French.

I wrote this Christmas cantata from Koroshegy at the request of the Council of the Komitat Somogy. When I visited the still unrenovated little church at Koroshegy about ten years ago I had no idea that this beautiful Gothic building would one day be the scene of the world premiere of one of my works. - The cantata is founded on four pillars: four organ soli which could be described as ritornelli, followed by four a cappella choruses with the same melody but different harmonizations. These are settings of the four verses of In Epiphaniam by Janus Pannonius, the most renowned Hungarian poet and humanist of the Renaissance. Between these pillars I have introduced movements for choir or for soloists based on Hungarian folk tunes and Christmas songs from Transylvania and the Komitat Somogy: songs of the shepherds, angels and wise men, and, after a pastorale for organ, a large scale mixed-voice chorus intoning Ez karacsony ejszakajan [Holy Night]. A narrator introduces the individual numbers with passages from the Christmas story. An organ postlude concludes the work. (Ferenc Farkas) This work may be performed in German, English, French or Hungarian language. Score and part available separately - see item CA.1037800.