SKU: HL.14003425

ISBN 9780711922778. 12.0x9.0x0.125 inches.

Arrangements of 26 favourite nursery rhymes with full colour illustrations and fascinating information on the pieces' origins. Specially designed for young children to be able to play themselves rather than just be played to. Suitable for pre-Grade 1 to Grade 1 pianists. Contents: Baa, Baa, Black Sheep * Girls and Boys Come Out to Play * Hey Diddle Diddle * Hot Cross Buns * I Love Little Pussy * Jack and Jill * Little Bo-Peep * London Bridge * London's Burning * One, Two, Three, Four, Five * Pop Goes the Weasel * Rock-a-Bye, Baby * Sing a Song of Sixpence * This Old Man * Three Blind Mice * Twinkle, Twinkle, Little Star * Yankee Doodle * Lavenders Blue * Little Jack Horner * Pat a Cake * Polly Put the Kettle On * Pussy-Cat, Pussy-Cat * Hickory, Dickory Dock * Here We Go Round the Mulberry Bush * Ring-a-Ring o Roses * Humpty Dumpty.

SKU: PR.44641256L

UPC: 680160596010. 11 x 17 inches. Key: A major.

Fanfare; Reminiscence and Celebration is in 2 movements. I. Fanfare The opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience. II. Reminiscence and Celebration The 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.
Fanfare; Reminiscence and Celebration is in 2 movements. I. Fanfare The opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall a each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience. II. Reminiscence and Celebration The 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.
Fanfare; Reminiscence and Celebration is in 2 movements. I. Fanfare The opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall -- each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience. II. Reminiscence and Celebration The 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.
Fanfare; Reminiscence and Celebration is in 2 movements.I. FanfareThe opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall — each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience.II. Reminiscence and CelebrationThe 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.

SKU: CF.CM9707

ISBN 9781491160121. UPC: 680160918720. Key: Db major. John Gillespie Magee. Poem by John Gillespie Magee, Jr.

Just weeks after his nineteenth birthday, John Gillespie Magee, Jr. wrote the poem High Flight while serving in the Royal Canadian Air Force. The year was 1941, and World War II was culminating toward its darkest chapters. Magee had just completed his seventh flight in the iconic Spitfire Mk I fighter plane, soaring to heights well above 30,000 feet. These high altitude exercises supplied his inspiration for the poem, which describes the long, delirious, burning blue and having touched the face of God. Tragically, Magee died in a training exercise just months after writing High Flight. His words, however, live on to lift our hearts and stir the imagination. After you have learned High Flight, ask yourself the following questions: Are you singing the text clearly and articulately? Are you properly stressing the important syllables and backing off of non-stressed syllables? Is there a sense of energy throughout the piece, in both the lyrical, flowing sections and the up-tempo, faster sections? Are you also singing with a sense of energy no matter what the dynamic marking? Are you singing phrases with proper breath support and a sense of rise and fall to the phrase?.
Just weeks after his nineteenth birthday, John Gillespie Magee, Jr. wrote the poem High Flight while serving in the Royal Canadian Air Force. The year was 1941, and World War II was culminating toward its darkest chapters. Magee had just completed his seventh flight in the iconic Spitfire Mk I fighter plane, soaring to heights well above 30,000 feet. These high altitude exercises supplied his inspiration for the poem, which describes “the long, delirious, burning blue” and having “touched the face of God.”Tragically, Magee died in a training exercise just months after writing High Flight. His words, however, live on to lift our hearts and stir the imagination. After you have learned High Flight, ask yourself the following questions: Are you singing the text clearly and articulately? Are you properly stressing the important syllables and backing off of non-stressed syllables? Is there a sense of energy throughout the piece, in both the lyrical, flowing sections and the up-tempo, faster sections? Are you also singing with a sense of energy no matter what the dynamic marking? Are you singing phrases with proper breath support and a sense of rise and fall to the phrase?