Abdullah Ibrahim aka 'Dollar Brand' is one of the true jazz greats. His cycle 'African Songs' celebrates the unmistakable atmosphere and cheerfulness of African music. This arrangement for cello and piano is a rather special performance piece. / Violoncelle Et Piano

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.
1. Hillbilly Fingerstyle Blues Guitar ? An Introduction
2. Learning the Songs
3. Understanding the Tablature
4. The Songs
5. 1) Knoxville Blues?Sam McGee
6. 2) Easy Rider?Sam McGee
7. 3) Railroad Blues?Sam McGee
8. 4) Sally Long?Sam McGee
9. 5) Fuzzy Rag?Riley Puckett
10. 6) Worried Blues?Frank Hutchison
11. 7) Train That Carried The Girl From Town?Frank Hutchison
12. 8) The Miner?s Blues?Frank Hutchison
13. 9) K. C. Whistle?Lester McFarland
14. 10) John Hardy Was A Desperate Little Man?The Carter Family
15. 11) Johnson City Blues?Clarence Greene
16. 12) Brown Skin Blues?Dick Justice
17. 13) Cocaine?Dick Justice
18. 14) She Lied To Me?Emry Arthur
19. 15) Everyday Dirt?David McCarn
20. 16) Take Them For A Ride?David McCarn
21. 17) Jailhouse Rag?David Miller
22. 18) Match Box Blues?Larry Hensley
23. 19) New Chattanooga Mama?Lake Howard
24. 20) Soap Box Blues?Debs Mays
25. 21) Rabbit Blues?Debs Mays
26. 22) Graveyard Blues?Hobart Smith
27. 23) Railroad Bill?Hobart Smith
28. 24) K. C. Moan?Hobart Smith
29. 25) Mississippi Heavy Water Blues?Roscoe Holcomb
30. 26) Riley And Spencer?Fields Ward
31. 27) Raggin? The Wires?E. C. Ball
32. 28) Ain?t No Grave Can Hold My Body Down?E. C. Ball
33. Appendix?Default Chord Positions
34. ABOUT THE AUTHOR
35. Afterword
36. ACKNOWLEDGEMENTS
/ Partitions variété - pop - rock / Variété internationale / Guitare tablatures / MEL BAY

Abdullah Ibrahim aka 'Dollar Brand' is one of the true jazz greats. His cycle 'African Songs' celebrates the unmistakable atmosphere and cheerfulness of African music. This arrangement for alto saxophone and piano is a rather special performance piece. / Saxophone Alto

Célébrons les vacances dans le monde entier! Après un titre de la chanson joyeuse, vos élèves seront ensuite profiter de la présentation de chants traditionnels et chants venus de 15 pays différents. Le script en option (10 narrateurs par chanson) décrit les coutumes et les traditions saisonnières qui se produisent dans chaque pays pendant la saison des fêtes. Pourquoi ne pas parcourir le monde à Noël? C'est un excellent choix pour les écoles-et groupes de jeunes de l'église, aussi. / Choeur

A Gaelic Blessing is a simple and catchy piece by Craig McLeish. This piece will be particularly useful for school, junior and community choirs, and a tuneful introduction to singing simple contrapuntal lines. The second soprano part repeats the tune at bar 33 and should dominate here - the first sopranos and altos should support appropriately. Ease and beauty of tone should be of paramount importance throughout. An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers pieces for all types of choirs, including sacred and secular works from simple, four-part settings to more expansive, yet accessible, repertoire in an exciting variety of styles. Craig McLeish began his musical life as a chorister at St Paul's Cathedral under Barry Rose. He began composing at the age of ten and his preces and responses for four trebles are still in the repertoire. After a degree at York University he returned to London to study at the Guildhall and sang again at St Paul's as a tenor. At the time he also arranged and copied music for West End shows such as Les Miserables and Miss Saigon, and played bass guitar for various groups. This led to a spell in the cult pop band 'Fat and Frantic', who shaved the top 100 twice with the whimsical anthem Last night my wife hoovered my head. He also worked as musical assistant for David Heneker (Half a Sixpence) and David Fanshawe (African Sanctus). In 1992 Craig became director of the Methodist Association of Youth Clubs Orchestra and Singers, performing concerts throughout the UK and becoming involved in a number of recordings and BBC broadcasts. During this time he arranged more than 250 orchestral scores ranging from Queen to Calamity Jane, Stravinsky and Stevie Wonder. Alongside this he began arranging and writing songs for children's collections (Big Blue Planet, Love Shone Down) and producing recordings and string arrangements for various artists (Sheila Walsh, Kim Hill, Matt Redman). He is also well known as a conductor and arranger for Songs of Praise. Recently Craig has collaborated with composer Tolga Kashif writing orchestrations for the RPO's Seo Taiji Symphony, the Classic FM chart-topping CD by saxophonist Tyler Rix, and the Genesis Suite which was premiered at the Barbican. He has been musical director of Young Voices UK for 13 years, bringing large school choirs together to play with a live band and solo artists, and currently conducts the Milton Keynes Community Choir, Hart and Soul Community Choir and the Milton Keynes Youth Choir. / Choeur SSA

Kum Ba Yah is one of the most popular and loved of all American folk songs. It is sung in places of worship around campfires and at social gatherings all over the world. This bright and happy arrangement makes use of African percussion and rhythm underneath velvety-smooth chords and flowing lines. It can also be enhanced by the use of an optional electric bass part.

As the Country Blues began to be recorded in the mid-1920s it soon became apparent that the music was being played and appreciated not only by African-American musicians and audiences but by white musicians and audiences as well. Many of these white musicians played with and learned from black musicians for even in the Jim Crow Era there was always a good deal of musical interaction and exchange. So it is that the term 'Hillbilly Blues' can be used to describe the music made by white musicians of that era in the Country Blues style. Included on this DVD are songs from Clarence Greene known mostly as a fiddler but an ace guitarist Dick Justice who in his one dayin the recording studio waxed ten masterful performances Frank Hutchison who excelled at lap slide harmonica on a rack and conventional blues picking Sam McGee a banjo and guitar master who went on to star on the Grand Ole Opry Hobart Smith a musical powerhouse Maybelle Carter a rocksteady and beautifully lyrical player who may have been the most influential of the bunch and Emry Arthur a soulful singer and player who recorded one of the earliest versions of Man Of Constant Sorrow.The songs selected for inclusion on the DVD have been chosen to introduce you to a variety of different keys and playing positions as well as a host of different right hand techniques.A PDF included on the DVD offers not only detailed transcriptions of the songs but the songs' lyrics too. All of the original performances by the musicians are included on the DVD as bonus tracks both as references and for your listening enjoyment.

Par JENKINS KARL. One World deals with a fractured world (populist governments, plagues, climate change, human trafficking, disrespect for basic human rights, terrorism, war) and heralds a vision of a peaceful and egalitarian planet. The work is best encapsulated by one of the texts set: ‘Tikkun Olam’, Hebrew for ‘repair the world’, a Jewish concept of stewardship over God’s creation. Scored for soloists, chorus and orchestra in Jenkins’s inimitable style familiar from such works as Adiemus: Songs of Sanctuary, The Armed Man: A Mass for Peace, Requiem and The Peacemakers. His vision for One World takes inspiration from diverse texts including the Bible, the Hindu Gayatri Mantra, the poetry of the English Romantic Percy Bysshe Shelley, African-American abolitionist Frances Harper (c1850) and Lebanese-American writer Kahlil Gibran. As in many of Jenkins’s works, Carol Barratt contributes impactful text and adaptations. Recorded on Decca by Lucy Crowe soprano, Kathryn Rudge mezzo-soprano, Roderick Williams baritone, the World Choir for Peace, The Stay At Home Choir and the World Orchestra for Peace, conducted by Karl Jenkins. / Date parution : 2023-07-31/ Répertoire / SMezBar, Choir et Orchestre

Listen To The Lambs was written in 1914 drawing its text from an older spiritual song I Want To Go To Heaven When I Die. It is arranged for eight-part mixed chorus and is known for the way it cleverly mixes passages of partial and full choir and thick and thin textures to create a poignant and moving work. Robert Nathaniel Dett (1882-1943) was an African-American Canadian composer and singer who fused together European classical styles with Negro spirituals and was comfortable with a wide range of repertoire. In 1914 he was working with the choir at the Hampton Institute in Hampton Virginia.