SKU: HL.284127
ISBN 9781540036483. UPC: 888680825881. 9.0x12.0x0.566 inches.
Now in a 3rd edition, this romantic collection features 63 songs arranged in our patented E-Z Play(r) Today notation. Songs include: And I Love Her * Because You Loved Me * Can't Help Falling in Love * Endless Love * The First Time Ever I Saw Your Face * How Deep Is Your Love * I Will Always Love You * I'm Yours * Just the Way You Are * Longer * Love Story * My Heart Will Go on (Love Theme from 'Titanic') * The Power of Love * The Rose * A Thousand Years * Unchained Melody * When I Fall in Love * You Are So Beautiful * and more.
About Hal Leonard E-Z Play Today
For organs, pianos, and electronic keyboards. E-Z Play Today is the shortest distance between beginning music and playing fun. Now there are more than 300 reasons why you should play E-Z Play Today. * World's largest series of music folios * Full-size books - large 9 x 12 format features easy-to-read, easy-to-play music * Accurate arrangements... simple enough for the beginner, but accurate chords and melody lines are maintained * Eye-catching, full-color covers * Lyrics... most arrangements include words and music * Most up-to-date registrations - books in the series contain a general registration guide, as well as individual song rhythm suggestions * Guitar Chord Chart - all songs in the series can also be played on guitar.
SKU: HL.1216161
UPC: 196288140160. 6.75x10.5x0.085 inches.
Lin-Manuel Miranda has slowly and surely become a musical theater icon of the modern era. Like Schwartz, Sondheim, Loesser, and Rodgers and Hammerstein, Miranda writes songs that are transcendent, singable, joyous, and worth the price of admission. This medley from show choir veteran Mark Brymer includes some of the most memorable highlights from an illustrious career: In the Heights, How Far I'll Go (from Moana), One More Song (from Vivo), We Don't Talk about Bruno (from Encanto) and My Shot (from Hamilton).
SKU: HL.1216159
UPC: 196288140146. 6.75x10.5x0.086 inches.
SKU: HL.1216160
UPC: 196288140153. 6.75x10.5x0.085 inches.
Lin-Manuel Miranda has slowly and surely become a musical theater icon of the modern era. Like Schwartz, Sondheim, Loesser, and Rodgers & Hammerstein, Miranda writes songs that are transcendent, singable, joyous, and worth the price of admission. This medley from show choir veteran Mark Brymer includes some of the most memorable highlights from an illustrious career: In the Heights, How Far I'll Go (from Moana), One More Song (from Vivo), We Don't Talk about Bruno (from Encanto) and My Shot (from Hamilton).
SKU: CF.YPS212F
ISBN 9781491152997. UPC: 680160910496.
Taking its title from a poem about grief and loss by Chrissie Pinney, Live On honors the life of band director Linda Mann, to whom the piece is dedicated. The piece begins with a pensive intro before shifting to a whimsical theme that brings about happy thoughts of a life well-lived. After a return to the poignant opening material, the music surges to a triumphant conclusion based on an augmented version of the whimsical theme.Live On was commissioned by Diplomat Middle School's staff, faculty and students, in Cape Coral, Florida, and is dedicated to the memory of their Director of Bands, Linda Mann. Director of Orchestras, Roland Forti, championed the commissioning of this piece to honor the life of Linda after her untimely passing in February of 2017. Linda Mann’s impact on the field of music education was profound and wide-reaching. She was a beloved member of the staff at Diplomat Middle School, as well as the music community of Cape Coral and the state of Florida. Linda was highly respected throughout the state, serving as recent past-president of the Florida Bandmasters Association.In discussing the type of piece the school wanted to honor Ms. Mann, they indicated the piece should “depict Linda’s personality: dynamic, sassy, yet thoughtful and almost mentor-like.†They wanted a piece that was upbeat, yet still had moments that were thoughtful, portraying the grief that the Diplomat Middle School community has suffered from the sudden loss of such a beloved teacher.After contemplating their thoughts, I did some research to find inspiration for the piece. This led me to poetry about grief and loss. In time, I stumbled upon a short, yet poignant poem that I felt perfectly depicted the sentiment that I wanted the piece to convey. That poem is entitled Live On by Chrissie Pinney.Live OnNow as I live onWithout youI hope to keepThe pieces of youThat I loved so dearlyYour mannerismsAnd compassionate characterAnd smiles through struggleSo that youMay live on too -Chrissie PinneyI reached out to Ms. Pinney, and she graciously agreed to allow me to quote her powerful poem in these notes. She expressed that she was deeply touched that her work would inspire me to write a piece in honor of Linda Mann.The piece begins with a poignant, pensive opening section. The use of the musical interval of a tritone between the first two openly voiced chords are used to represent the sadness we all feel from this type of loss. When I sat in front of my piano and started to work on this piece, my hands seemed to naturally and immediately play these first two chords, which set the process in motion of composing the piece.After the somber opening, the piece shifts to a whimsical theme that I hope brings about happy thoughts of Linda and her personality. It was also my intent, however, to include some musical dissonance in the theme that still reflected the bittersweet loss at the same time. The piece develops into a secondary theme that is a quasi inversion of the main fast theme. This section is followed by a return of the opening material, with snippets of the fast theme intertwined, before the piece builds to a triumphant, augmented presentation of the main theme in a lush form to complete the work.It is my hope that in some small way, this piece will bring comfort to those affected by the loss of Linda Mann, and that the music will allow her memory to Live On.–Larry ClarkLakeland, FL 2017.
SKU: CF.YPS212
ISBN 9781491152317. UPC: 680160909810. Key: C minor.
SKU: PR.16400272S
UPC: 680160588442. 8.5 x 11 inches.
My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change. I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania] The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla. Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional. II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts] This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture. This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream. III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts] The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this. Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1. String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.
SKU: PR.164002720
UPC: 680160573042. 8.5 x 11 inches.
SKU: HL.282486
ISBN 9781540034427. UPC: 888680789299. 9.0x12.0x0.597 inches.
64 popular modern classics in our large print E-Z Play(r) Today notation with the note name in the note head. Includes: Billie Jean * Crazy Little Thing Called Love * Don't Stop Believin' * Dream On * Every Breath You Take * Free Bird * Free Fallin' * Hallelujah * Imagine * Landslide * Mad World * Purple Rain * Ring of Fire * Rolling in the Deep * Stand by Me * Tears in Heaven * With or Without You * Yesterday * and more.
SKU: HL.269492
ISBN 9781540024886. UPC: 888680738662. 7.5x9.25x0.516 inches. Craig Anderton The Musician's Guide to Home Recording Series.
The best recordings are for nothing if the mix doesn't present those tracks in the best possible way – and this book is all about how to make mixes that pull the listener in. It's not just about the technology, but the art of mixing as well. Written in a clear, practical, non-intimidating style, topics include: • Feel vs. perfection • The importance of the arrangement for mixing • Tailoring material for your audience • Monitoring and acoustics • Software mixer architecture • Unique aspects of mixing with digital audio • How to use plug-ins • Integrating external hardware with computers, the “12-step program†to create great mixes • Panning techniques • Equalization • Dynamics processing • Time-based effects • Placing effects in the right order • How to use automation • Hardware control surfaces • Mixing with virtual instruments • Adding expressiveness in the mix • Using ReWire, beyond conventional mixing techniques • Mixing and MIDI, and much more Far from being a laundry list of mixing techniques, How to Create Compelling Mixes places equal emphasis on the art of mixing. With copious illustrations and featuring the judicious use of sidebars to give details on selected topics for those who want to know “why†as well as “how,†How to Create Compelling Mixes is essential reading about how to get the most out of this crucial processor for mixing and mastering.
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