| Rise Up Singing
Lyrics and Chords [Sheet music] Hal Leonard
The Group Singing Songbook. By Various. Vocal. Size 9.5x12 inches. 281 pages. Pu...(+)
The Group Singing Songbook. By Various. Vocal. Size 9.5x12 inches. 281 pages. Published by Hal Leonard.
(1)$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Best Fake Book Ever - C Edition - 3rd Edition
Fake Book [Fake Book] Hal Leonard
(C Edition) For voice and C instrument. Format: fakebook. With vocal melody, lyr...(+)
(C Edition) For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Series: Hal Leonard Fake Books. 856 pages. 9x12 inches. Published by Hal Leonard.
(14)$59.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Best Fake Book Ever - 2nd Edition - Eb Edition
Eb Instruments [Fake Book] Hal Leonard
Fakebook for Eb instrument. With vocal melody, lyrics and chord names. Series: H...(+)
Fakebook for Eb instrument. With vocal melody, lyrics and chord names. Series: Hal Leonard Fake Books. 864 pages. Published by Hal Leonard.
(2)$49.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Buskers Fake Book All Time Hit Piano solo Music Sales | | |
| Rise Up Singing Lyrics and Chords [Sheet music] Hal Leonard
Arranged by Peter Blood, Annie Patterson. Vocal. Size 7.5x10.5 inches. 283 pages...(+)
Arranged by Peter Blood, Annie Patterson. Vocal. Size 7.5x10.5 inches. 283 pages. Published by Hal Leonard.
(1)$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Best Fake Book Ever - 5th Edition C Instruments [Fake Book] Hal Leonard
C Edition. Composed by Various. Fake Book. Broadway, Country, Jazz, Pop, Stand...(+)
C Edition. Composed by
Various. Fake Book. Broadway,
Country, Jazz, Pop, Standards.
Softcover. 802 pages.
Published by Hal Leonard
$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Hymn Fake Book - C Edition
Melody line, Lyrics and Chords [Fake Book] - Easy Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, lyrics, piano accompaniment, chord names and leadsheet notation. Hymn. Series: Hal Leonard Fake Books. 494 pages. 9x12 inches. Published by Hal Leonard.
(3)$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 1712 Overture Orchestra Theodore Presser Co.
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by PDQ Bach. Edited by Prof. Peter Schickele. Study Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576. Published by Theodore Presser Company (PR.416415760). UPC: 680160636532. 9 x 12 inches. The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams. $39.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| 1712 Overture Orchestra Theodore Presser Co.
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+)
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by PDQ Bach. Edited by Peter Schickele. Large Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576L. Published by Theodore Presser Company (PR.41641576L). UPC: 680160636549. 11 x 17 inches. The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams. $80.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Berko's Journey Theodore Presser Co.
Orchestra Bass Clarinet, Bass Trombone, Bassoon 1, Bassoon 2, Cello, Clarinet in...(+)
Orchestra Bass Clarinet, Bass Trombone, Bassoon 1, Bassoon 2, Cello, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Contrabassoon, Double Bass, English Horn, Flute 1, Flute 2, Flute 3, Harp, Horn 1, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. SKU: PR.11642143L Composed by Stacy Garrop. Spiral. Large Score. 68 pages. Duration 20 minutes. Theodore Presser Company #116-42143L. Published by Theodore Presser Company (PR.11642143L). UPC: 680160693320. 11 x 17 inches. For most of my life, I never knew where my father’s family came from, beyond a few broad strokes: they had emigrated in the early 1900s from Eastern Europe and altered the family name along the way. This radically changed in the summer of 2021 when my mother and sister came across a folder in our family filing cabinet and made an astounding discovery of documents that revealed when, where, and how my great-grandfather came to America. The information I had been seeking was at home all along, waiting over forty years to be discovered.Berko Gorobzoff, my great-grandfather, left Ekaterinoslav in 1904. At that time, this city was in the southern Russian area of modern-day Ukraine; as his family was Jewish, he and his siblings were attempting to escape the ongoing religious persecution and pogroms instigated by Tzar Nicholas II to root out Jewish people from Russia. Berko’s older brother Jakob had already emigrated to Illinois, and Berko was traveling with Chaje, Jakob’s wife, to join him. Their timing was fortuitous, as the following year saw a series of massive, brutal pogroms in the region. After arriving in Illinois, Berko went on to Omaha, Nebraska, where he married my great-grandmother Anna about eighteen months later. They remained in Omaha for the rest of their lives.There is one more intriguing part to this historical account: I have a great-aunt in Texas who, as it turns out, is the youngest daughter of Berko and Anna. Through a series of phone calls, my great-aunt and I discussed what she could remember: her parents spoke Yiddish at home, her mother didn’t learn to read or write in English so my great-aunt was tasked with writing letters to family members, Berko ran a grocery store followed by a small hotel, and her parents enjoyed playing poker with friends. Above all else, neither of her parents ever spoke a word about their past or how they got to America. This was a common trait among Eastern European Jewish immigrants whose goal was to “blend in” within their new communities and country.To craft Berko’s Journey, I melded the facts I uncovered about Berko with my own research into methods of transportation in the early 1900s. Also, to represent his heritage, I wove two Yiddish songs and one Klezmer tune into the work. In movement 1, Leaving Ekaterinoslav, we hear Berko packing his belongings, saying his goodbyes to family and friends, and walking to the train station. Included in this movement is a snippet of the Yiddish song “The Miller’s Tears” which references how the Jews were driven out of their villages by the Russian army. In movement 2, In Transit, we follow Berko as he boards a train and then a steamship, sails across the Atlantic Ocean, arrives at Ellis Island and anxiously waits in line for immigration, jubilantly steps foot into New York City, and finally boards a train that will take him to Chicago. While he’s on the steamship, we hear a group of fellow steerage musicians play a klezmer tune (“Freylachs in d minor”). In movement 3, At Home in Omaha, we hear Berko court and marry Anna. Their courtship is represented by “Tumbalalaika,” a Yiddish puzzle folksong in which a man asks a woman a series of riddles in order to get better acquainted with each other and to test her intellect.On a final note, I crafted a musical motive to represent Berko throughout the piece. This motive is heard at the beginning of the first movement; its first pitches are B and E, which represent the first two letters of Berko’s name. I scatter this theme throughout the piece as Berko travels towards a new world and life. As the piece concludes, we hear Berko’s theme repeatedly and in close succession, representing the descendants of the Garrop line that came from Berko and Anna. For most of my life, I never knew where my father’s family came from, beyond a few broad strokes: they had emigrated in the early 1900s from Eastern Europe and altered the family name along the way. This radically changed in the summer of 2021 when my mother and sister came across a folder in our family filing cabinet and made an astounding discovery of documents that revealed when, where, and how my great-grandfather came to America. The information I had been seeking was at home all along, waiting over forty years to be discovered.Berko Gorobzoff, my great-grandfather, left Ekaterinoslav in 1904. At that time, this city was in the southern Russian area of modern-day Ukraine; as his family was Jewish, he and his siblings were attempting to escape the ongoing religious persecution and pogroms instigated by Tzar Nicholas II to root out Jewish people from Russia. Berko’s older brother Jakob had already emigrated to Illinois, and Berko was traveling with Chaje, Jakob’s wife, to join him. Their timing was fortuitous, as the following year saw a series of massive, brutal pogroms in the region. After arriving in Illinois, Berko went on to Omaha, Nebraska, where he married my great-grandmother Anna about eighteen months later. They remained in Omaha for the rest of their lives.There is one more intriguing part to this historical account: I have a great-aunt in Texas who, as it turns out, is the youngest daughter of Berko and Anna. Through a series of phone calls, my great-aunt and I discussed what she could remember: her parents spoke Yiddish at home, her mother didn’t learn to read or write in English so my great-aunt was tasked with writing letters to family members, Berko ran a grocery store followed by a small hotel, and her parents enjoyed playing poker with friends. Above all else, neither of her parents ever spoke a word about their past or how they got to America. This was a common trait among Eastern European Jewish immigrants whose goal was to “blend in” within their new communities and country.To craftxa0Berko’s Journey,xa0I melded the facts I uncovered about Berko with my own research into methods of transportation in the early 1900s. Also, to represent his heritage, I wove two Yiddish songs and one Klezmer tune into the work. In movement 1,xa0Leaving Ekaterinoslav,xa0we hear Berko packing his belongings, saying his goodbyes to family and friends, and walking to the train station. Included in this movement is a snippet of the Yiddish song “The Miller’s Tears” which references how the Jews were driven out of their villages by the Russian army. In movement 2,xa0In Transit,xa0we follow Berko as he boards a train and then a steamship, sails across the Atlantic Ocean, arrives at Ellis Island and anxiously waits in line for immigration, jubilantly steps foot into New York City, and finally boards a train that will take him to Chicago. While he’s on the steamship, we hear a group of fellow steerage musicians play a klezmer tune (“Freylachs in d minor”). In movement 3,xa0At Home in Omaha,xa0we hear Berko court and marry Anna. Their courtship is represented by “Tumbalalaika,” a Yiddish puzzle folksong in which a man asks a woman a series of riddles in order to get better acquainted with each other and to test her intellect.On a final note, I crafted a musical motive to represent Berko throughout the piece. This motive is heard at the beginning of the first movement; its first pitches are B and E, which represent the first two letters of Berko’s name. I scatter this theme throughout the piece as Berko travels towards a new world and life. As the piece concludes, we hear Berko’s theme repeatedly and in close succession, representing the descendants of the Garrop line that came from Berko and Anna. $71.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Berko's Journey [Score] Theodore Presser Co.
Orchestra Bass Clarinet, Bass Trombone, Bassoon 1, Bassoon 2, Cello, Clarinet in...(+)
Orchestra Bass Clarinet, Bass Trombone, Bassoon 1, Bassoon 2, Cello, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Contrabassoon, Double Bass, English Horn, Flute 1, Flute 2, Flute 3, Harp, Horn 1, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. SKU: PR.11642143S Composed by Stacy Garrop. Sws. Score. 68 pages. Duration 20 minutes. Theodore Presser Company #116-42143S. Published by Theodore Presser Company (PR.11642143S). UPC: 680160693313. 11 x 17 inches. For most of my life, I never knew where my father’s family came from, beyond a few broad strokes: they had emigrated in the early 1900s from Eastern Europe and altered the family name along the way. This radically changed in the summer of 2021 when my mother and sister came across a folder in our family filing cabinet and made an astounding discovery of documents that revealed when, where, and how my great-grandfather came to America. The information I had been seeking was at home all along, waiting over forty years to be discovered.Berko Gorobzoff, my great-grandfather, left Ekaterinoslav in 1904. At that time, this city was in the southern Russian area of modern-day Ukraine; as his family was Jewish, he and his siblings were attempting to escape the ongoing religious persecution and pogroms instigated by Tzar Nicholas II to root out Jewish people from Russia. Berko’s older brother Jakob had already emigrated to Illinois, and Berko was traveling with Chaje, Jakob’s wife, to join him. Their timing was fortuitous, as the following year saw a series of massive, brutal pogroms in the region. After arriving in Illinois, Berko went on to Omaha, Nebraska, where he married my great-grandmother Anna about eighteen months later. They remained in Omaha for the rest of their lives.There is one more intriguing part to this historical account: I have a great-aunt in Texas who, as it turns out, is the youngest daughter of Berko and Anna. Through a series of phone calls, my great-aunt and I discussed what she could remember: her parents spoke Yiddish at home, her mother didn’t learn to read or write in English so my great-aunt was tasked with writing letters to family members, Berko ran a grocery store followed by a small hotel, and her parents enjoyed playing poker with friends. Above all else, neither of her parents ever spoke a word about their past or how they got to America. This was a common trait among Eastern European Jewish immigrants whose goal was to “blend in” within their new communities and country.To craft Berko’s Journey, I melded the facts I uncovered about Berko with my own research into methods of transportation in the early 1900s. Also, to represent his heritage, I wove two Yiddish songs and one Klezmer tune into the work. In movement 1, Leaving Ekaterinoslav, we hear Berko packing his belongings, saying his goodbyes to family and friends, and walking to the train station. Included in this movement is a snippet of the Yiddish song “The Miller’s Tears” which references how the Jews were driven out of their villages by the Russian army. In movement 2, In Transit, we follow Berko as he boards a train and then a steamship, sails across the Atlantic Ocean, arrives at Ellis Island and anxiously waits in line for immigration, jubilantly steps foot into New York City, and finally boards a train that will take him to Chicago. While he’s on the steamship, we hear a group of fellow steerage musicians play a klezmer tune (“Freylachs in d minor”). In movement 3, At Home in Omaha, we hear Berko court and marry Anna. Their courtship is represented by “Tumbalalaika,” a Yiddish puzzle folksong in which a man asks a woman a series of riddles in order to get better acquainted with each other and to test her intellect.On a final note, I crafted a musical motive to represent Berko throughout the piece. This motive is heard at the beginning of the first movement; its first pitches are B and E, which represent the first two letters of Berko’s name. I scatter this theme throughout the piece as Berko travels towards a new world and life. As the piece concludes, we hear Berko’s theme repeatedly and in close succession, representing the descendants of the Garrop line that came from Berko and Anna. For most of my life, I never knew where my father’s family came from, beyond a few broad strokes: they had emigrated in the early 1900s from Eastern Europe and altered the family name along the way. This radically changed in the summer of 2021 when my mother and sister came across a folder in our family filing cabinet and made an astounding discovery of documents that revealed when, where, and how my great-grandfather came to America. The information I had been seeking was at home all along, waiting over forty years to be discovered.Berko Gorobzoff, my great-grandfather, left Ekaterinoslav in 1904. At that time, this city was in the southern Russian area of modern-day Ukraine; as his family was Jewish, he and his siblings were attempting to escape the ongoing religious persecution and pogroms instigated by Tzar Nicholas II to root out Jewish people from Russia. Berko’s older brother Jakob had already emigrated to Illinois, and Berko was traveling with Chaje, Jakob’s wife, to join him. Their timing was fortuitous, as the following year saw a series of massive, brutal pogroms in the region. After arriving in Illinois, Berko went on to Omaha, Nebraska, where he married my great-grandmother Anna about eighteen months later. They remained in Omaha for the rest of their lives.There is one more intriguing part to this historical account: I have a great-aunt in Texas who, as it turns out, is the youngest daughter of Berko and Anna. Through a series of phone calls, my great-aunt and I discussed what she could remember: her parents spoke Yiddish at home, her mother didn’t learn to read or write in English so my great-aunt was tasked with writing letters to family members, Berko ran a grocery store followed by a small hotel, and her parents enjoyed playing poker with friends. Above all else, neither of her parents ever spoke a word about their past or how they got to America. This was a common trait among Eastern European Jewish immigrants whose goal was to “blend in” within their new communities and country.To craftxa0Berko’s Journey,xa0I melded the facts I uncovered about Berko with my own research into methods of transportation in the early 1900s. Also, to represent his heritage, I wove two Yiddish songs and one Klezmer tune into the work. In movement 1,xa0Leaving Ekaterinoslav,xa0we hear Berko packing his belongings, saying his goodbyes to family and friends, and walking to the train station. Included in this movement is a snippet of the Yiddish song “The Miller’s Tears” which references how the Jews were driven out of their villages by the Russian army. In movement 2,xa0In Transit,xa0we follow Berko as he boards a train and then a steamship, sails across the Atlantic Ocean, arrives at Ellis Island and anxiously waits in line for immigration, jubilantly steps foot into New York City, and finally boards a train that will take him to Chicago. While he’s on the steamship, we hear a group of fellow steerage musicians play a klezmer tune (“Freylachs in d minor”). In movement 3,xa0At Home in Omaha,xa0we hear Berko court and marry Anna. Their courtship is represented by “Tumbalalaika,” a Yiddish puzzle folksong in which a man asks a woman a series of riddles in order to get better acquainted with each other and to test her intellect.On a final note, I crafted a musical motive to represent Berko throughout the piece. This motive is heard at the beginning of the first movement; its first pitches are B and E, which represent the first two letters of Berko’s name. I scatter this theme throughout the piece as Berko travels towards a new world and life. As the piece concludes, we hear Berko’s theme repeatedly and in close succession, representing the descendants of the Garrop line that came from Berko and Anna. $40.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Real Vocal Book - Volume III High voice [Fake Book] Hal Leonard
(High Voice). By Various. For Vocal. Fake Book. 438 pages. Published by Hal Leon...(+)
(High Voice). By Various. For Vocal. Fake Book. 438 pages. Published by Hal Leonard
$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Vocal Book - Volume III Low voice Hal Leonard
(Low Voice). Composed by Various. For Vocal. Fake Book. 440 pages. Published by ...(+)
(Low Voice). Composed by Various. For Vocal. Fake Book. 440 pages. Published by Hal Leonard
$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Granger's Fiddle Tunes for Guitarß Guitar notes and tablatures [Sheet music + Audio access] - Beginner Mel Bay
Guitar - Beginning SKU: MB.31103M Third Edition. Bluegrass, Wire b...(+)
Guitar - Beginning SKU: MB.31103M Third Edition. Bluegrass, Wire bound. World. Book and online audio. 236 pages. Mel Bay Publications, Inc #31103M. Published by Mel Bay Publications, Inc (MB.31103M). ISBN 9781513468792. 8.75x11.75 inches. Adam Granger self-published the first edition of Grangerâ??s Fiddle Tunes for Guitar in 1979. A second edition was published in 1994. Now Mel Bay Publications presents the third edition of the book. This 236-page book is the most extensive and best-documented collection of fiddle tunes for the flatpicking guitar player in existence, and includes reels, hoedowns, hornpipes, rags, breakdowns, jigs and slip-jigs, presented in Southern, Northern, Irish, Canadian, Texas and Old-time styles. There are 508 fiddle tunes referenced under 2500 titles and alternate titles. The titles are fully indexed, making the book doubly valuable as a reference book and a source book. In this new edition, all tunes are typeset, instead of being handwritten as they were in the previous editions, making the tabs easier to read. The tunes in Grangerâ??s Fiddle Tunes for Guitar are presented in Easytab, a streamlined tablature notation system designed by Adam specifically for fiddle tunes. The book comes with a link which gives access to mp3 recordings by Adam of all 508 tunes, each played once at a moderate tempo, with rhythm on one channel and lead on the other. Also included in Grangerâ??s Fiddle Tunes for Guitar are instructions for reading Easytab, descriptions of tune types presented in the book, and primers on traditional flatpicking and rhythm guitar. Additionally, there are sections on timing, ornamentation, technique, and fingering, as well as information on tune sources and a history of the collection. Mel Bay also offers The Granger Collection, by Bill Nicholson, the same 508 tunes in standard music notation.
$45.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Harmonica Fake Book: 140 Songs with Accurate Transcriptions of Famous Solos and Licks Harmonica Hal Leonard
Melody/Lyrics/Chord Symbols/Harmonica Tab Harmonica SKU: HL.300155 By Var...(+)
Melody/Lyrics/Chord Symbols/Harmonica Tab Harmonica SKU: HL.300155 By Various. Harmonica. Blues, Country, Folk, Pop, Rock. Softcover. 336 pages. Published by Hal Leonard (HL.300155). ISBN 9781540061874. UPC: 888680960902. 9.0x12.0 inches. Play your favorite harmonica solos and learn new classics with this new collection of songs for 10-hole diatonic C harp! This comprehensive songbook presents an extensive collection of 140 songs spanning diverse genres including blues, rock, country, folk, traditional, gospel, and pop. Curated for harmonica enthusiasts of all levels, each song is meticulously transcribed with harmonica tabs, lyrics, and chord symbols, and skillfully adapted for various harmonica positions. Furthermore, the songbook offers valuable insights for performing each piece in its original key, along with note-for-note transcriptions of intros, licks, and solos by esteemed harp experts and virtuosos from varied musical backgrounds. Add this new songbook to your collection today to unlock the endless possibilities of your harmonica! $49.99 - See more - Buy online | | |
| Best of Contemporary Christian
Fake Book [Fake Book] - Intermediate Hal Leonard
Over 400 Songs. Fake Book (Includes melody line and chords). Size 9x12 inches. 5...(+)
Over 400 Songs. Fake Book (Includes melody line and chords). Size 9x12 inches. 583 pages. Published by Hal Leonard.
(4)$49.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Phillips Collection of Traditional American Fiddle Tunes Vol 1 Violin [Sheet music] Mel Bay
by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels....(+)
by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels. Book. Solos. Size 8.75x11.75. 268 pages. Published by Mel Bay Pub., Inc.
(1)$39.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| On the Beaten Path -- Beginning Drumset Course, Complete Drums [DVD] Alfred Publishing
(An Inspiring Method to Playing the Drums, Guided by the Legends). By Rich Lacko...(+)
(An Inspiring Method to Playing the Drums, Guided by the Legends). By Rich Lackowski. For Drumset. Artist/Personality; Book; DVD; Method/Instruction; Percussion - Drum Set Method or Collection. On the Beaten Path. Beginner. 136 pages. Published by Alfred Music Publishing
$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The William Bay Collection - Sacred Guitar Solo Anthology Guitar Classical guitar [Sheet music + Audio access] - Intermediate Mel Bay
Old Time, Wire bound. Sacred. Book and online audio. 184 pages. Mel Bay Public...(+)
Old Time, Wire bound. Sacred.
Book and online audio. 184
pages. Mel Bay Publications,
Inc #WBM67M. Published by Mel
Bay Publications, Inc
$34.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Grateful Dead: Grateful Dead Anthology Piano, Vocal and Guitar [Sheet music] - Intermediate Warner Brothers
Performed by The Grateful Dead. For voice, piano and guitar chords. Format: pian...(+)
Performed by The Grateful Dead. For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. Psychedelic rock and folk rock. 271 pages. 9x12 inches. Published by Warner Brothers.
(4)$26.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| The Real Bluegrass Book
Guitar [Fake Book] Hal Leonard
(C Instruments). By Various. Fake Book. Softcover. 432 pages. Published by Hal L...(+)
(C Instruments). By Various. Fake Book. Softcover. 432 pages. Published by Hal Leonard
(1)$44.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| On the Beaten Path Drums [Sheet music + CD] Alfred Publishing
The Drummer's Guide to Musical Styles and the Legends Who Defined Them. By Rich ...(+)
The Drummer's Guide to Musical Styles and the Legends Who Defined Them. By Rich Lackowski. For Drum Set. Percussion - Drum Set Method or Collection. Instructional Book and Examples CD. 244 pages. Published by Alfred Publishing.
(1)$34.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Pat Metheny Real Book Bb Instruments [Fake Book] Hal Leonard
Artist Edition B-Flat Instruments. By Pat Metheny. Fake Book. Jazz. Softcover....(+)
Artist Edition B-Flat
Instruments. By Pat Metheny.
Fake Book. Jazz. Softcover.
272 pages. Published by Hal
Leonard
$29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Pat Metheny Real Book C Instruments [Sheet music] Hal Leonard
Artist Edition C Instruments. By Pat Metheny. Fake Book. Softcover. 272 p...(+)
Artist Edition C Instruments. By Pat Metheny. Fake Book. Softcover. 272 pages. Published by Hal Leonard (HL.120809).
$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Americana Songbook Guitar Hal Leonard
Piano/Vocal/Guitar SKU: HL.275865 By Various. Piano/Vocal/Guitar Songbook...(+)
Piano/Vocal/Guitar SKU: HL.275865 By Various. Piano/Vocal/Guitar Songbook. Americana, Country, Folk. Softcover. 304 pages. Published by Hal Leonard (HL.275865). ISBN 9781540026569. UPC: 888680744960. 9.0x12.0x0.729 inches. 45 roots favorites in arrangements for piano, voice and guitar. Includes: Broken Halos (Chris Stapleton) • Copperhead Road (Steve Earle) • Hurricane (The Band of Heathens) • If I Had a Boat (Lyle Lovett) • If We Were Vampires (Jason Isbell and the 400 Unit) • Live and Die (The Avett Brothers) • Mykonos (Fleet Foxes) • Pancho & Lefty (Merle Haggard & Willie Nelson) • The Story (Brandi Carlile) • Wagon Wheel (Old Crow Medicine Show) • and many more. $19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Grateful Dead: The New Best Of Grateful Dead For Guitar - Easy Guitar Guitar notes and tablatures [Sheet music] - Easy Warner Brothers
Performed by The Grateful Dead. For guitar and voice. Format: easy guitar tablat...(+)
Performed by The Grateful Dead. For guitar and voice. Format: easy guitar tablature songbook (simplified guitar/vocal arrangements). With guitar tablature, standard notation, vocal melody, lyrics, chord names, guitar chord diagrams and guitar tab glossary. Psychedelic rock and folk rock. 64 pages. 9x12 inches. Published by Warner Brothers.
$12.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
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