SKU: HL.14043700

ISBN 9781783058617. UPC: 888680736491. 9.0x12.0x0.125 inches. English.

Sing Pop A Cappella is a collection of a cappella arrangements of fantastic pop songs old and new, by renowned teacher, singer and director Gitika Partington . Her arrangements are used by choirs across the UK, and she emphasises that being able to read music is not necessary. Rewarding and enjoyable, Book Three continues her project to bring people together through the power of song. What's great about Gitika Partington 's Sing Pop A Cappella series is how she understands that to make great music or to sing a great song, it's not necessary to be able to sight-read. It may be useful, but she has learned that there are other ways to communicate music, namely through ear training,repetition and gesture. Her arrangements, five of which appear in this book, have enabled youth and community choirs to spring up across the country, making singing truly and universally accessible.  Included in this book are wonderfully rich a cappella arrangements of Ain't No Sunshine  by Bill Withers, Black Is The Colour Of My True Love's Hair, Rick Astley's Never Gonna Give You Up, Adele's Rolling In The Deep  and a huge favourite, Sway (Quien Sera) . Vocal scores for these innovative and enjoyable arrangements are included in standard notation, although Partington recommends learning by ear as something equally beneficial. To aid with this, the accompanying download card includes five tracks of audio for each song. One features a full performance demonstration while the other four each focus on either soprano, alto, tenor or bass. The easy download of these tracks makes learning efficient and fun, as you are able to listen wherever you are. The great thing about a cappella singing is that it can be done anywhere, with limited resources, with members who don't necessarily have any musical training. Partington  has created a book that can be used by a cappella choirs who love pop music that sounds great and will thrill audiences. Sing Pop A Cappella is not just a songbook, though, it also includes an extensive.

SKU: ST.CN30P

ISBN 9790220225604.

We Three Kings was written in 1968 for the Herbert Shiner School, Petworth, where Brian Knowles was Head of Music. Adapting the words of a much-loved Victorian carol to a new and unashamedly popular and accessible setting for unison voices and piano, it soon became a seasonal favourite, both there and later at The Royal Naval School (now The Royal School), where Knowles was Composer-in-Residence. Further acclaim followed in 2010, when it was performed live on the Alan Titchmarsh Show, and published by Stainer & Bell (ref. W225). This new arrangement, for SATB choir and piano, may also be performed with a dual-purpose orchestral accompaniment equally suited to the unison version, and available from the Stainer & Bell hire library (ref. HL398). The scoring is for double woodwind, four horns and trumpet, timpani, glockenspiel, xylophone, harp and strings.

SKU: HL.14022707

ISBN 9781846090851. 7.5x6.25x0.264 inches.

A collection of chants designed for use by Church choirs. A considerable number of Cathedral Psalter Chants which have stood the test of time have been retained, and favourites form other sources have been added. Besides these, many new ones by 20th century composers will be found, including 43 double and 20 single chants which have been specially written for this book. Edited by Charles H. Lloyd.

SKU: HL.14041792

ISBN 9781780382180. UPC: 884088658663. 6.75x9.75x0.05 inches.

The 'Hallelujah' Chorus, arguably the most famous choral work of the western classical tradition, is the closing number of the second part of Handel's Messiah.

Such is the strength of Handel's word setting that this empathic, triumphal paean retains its appeal in spite of the cultural overexposure and controversy to which it has been subjected, remaining a firm favourite with choirs.

The premiere of Messiah was in Dublin in 1742 as the high point of a full season of Handel's work. It was a charity event, held in aid of local causes, and in order to get the maximum attendance at Neale's new music hall in Fishamble Street, men were asked to removetheir swords, and ladies the hoops in their dresses.

The tradition of standing during performances of the 'Hallelujah' Chorus, still indulged at some performances in Britains, is said to have been started by King George II at the work's opening run in London in 1743.