Third edition of the world's biggest songbook. This is a vast bumper collection, perfect for buskers, of 1001 all-time hit songs.Whatever your taste, there's guaranteed to be tonnes of songs you'll want to play, this book will last you years!Inside the spiral bound cover you will find a generous selection of hit songs, golden standards, jazz and blues numbers, classical pieces, hymns, gospel songs, stage, film and musical music! Arranged here in Melody line arrangements for Piano, Organ, Electronic Keyboards, Guitar and all C instruments, complete with lyrics and chord symbols. / Ligne Mélodique, Paroles Et Accords (Avec Grilles D'Accords)

Nicolai Rimsky-Korsakov (1844-1908) came from an aristocratic family which lived near Novgorod. When he appeared to be musically gifted as a child his parents did not hesitate one moment to map out a more honourable profession for him – he wasto make a career in the navy as a marine officer. Rimsky-Korsakov however succeeded in secretly studying the cello next to his studies at the Naval Academy at St Petersburg. Through his cello teacher he came into contact with the composerBalakirev. In this way he suddenly became a member of The Mighty Five (a group of Russian composers consisting of Balakirev Moussorgsky Cui Borodin and Rimsky-Korsakov himself). Rimsky-Korsakov turned out to be so talented that he evenbecame a teacher at the St Petersburg Conservatory.‘Procession of the Nobles’ comes from the opera-ballet ‘Mlada’.The opera has a remarkable history for between 1868 and 1870 five different composers worked on this project. The finalresult was never executed however. Twenty years later Rimsky-Korsakov started work on the opera once more and composed his own version of Mlada.The theme of the opera is a tragic love story that is set in the early Middle Ages in a realm on theBaltic Sea. In ‘Processsion of the Nobles’ all the princesses of the country gather for a grand feast on the occasion of the summer holidays.

Michael Hurd. The ill-fated friendship between Henry Plantagenet and Thomas Beckett forms the basis of this ballad cantata on one of the momentous clashes between church and state in English history. With his customary melodic skill and literary clarity Hurd provides a very direct and immediately appealing account of the events which is designed to provide a starting point for further creativity in primary and middle schools.Performable as a concert or stage piece the cantata can provide the basis for original work in art design dance drama history environmental and English literary studies.Duration: 21 minutes. Scored for narrator unison voices and piano for performance as either concert or stage piece. Woodwind and String parts on hire.

16 middle-grade solos for classical guitar-These 16 solos for classical Guitar have been inspired by the rich and vivid rhythmic influences of Spanish Latin music. They are compact and melodic in structure and are composed in a variety of time signatures and Guitar tunings all adding to the diversity and descriptive nature of the collection.Whether a Sarabande or a Bossa Nova each solo is edited with convenient and helpful left and right hand fingerings. Momentos Españoles will be a varied and expressive addition to the Guitarist's repertoire. Written for the intermediate level Guitarist in accessible keys with left and right-hand fingering suggestionsincluded. Ideal for performances to be enjoyed by the player and audience alike. 

From the highly successful Lenten cantata Colors of Grace comes an invitation to reflect at the foot of the cross to kneel in its shadow to mourn the dying Christ and to find rest in the promise of salvation. Cometo the Cross is rich in powerful imagery swelling to an emotional “Kyrie eleison” after each remembrance of Calvary. And in the middle of all the drama and chaos surrounding his death words of unending love “Father forgive them...” is heard with haunting clarity and purity. Come to the Cross will be incredibly powerful during Lent or Holy Week and an especially poignant moment for Good Friday.

Obviously the music of John Williams is beyond comparison but subconsciously one's thoughts do drift into that direction. Fanfare for the Sun is a radiant fanfare from the pen of Carl Wittrock. Nearly three minutes utmost concentration are required of your musicians to have them display stunning feats of technical brilliance. A moment of calm in this masterly composition is the vivacious and entertaining dialogue of clarinet bassoon oboe and flute in the middle-section. The work was written as a commission by the Melomaan Foundation on the occasion of its anniversary. Een vergelijking met de muziek van John Williams mag uiteraard niet gelegd worden maar onbewust gaan de gedachten wel in die richting. Fanfare for the Sun is een stralende fanfare van de hand van Carl Wittrock die zijn voorliefde voor de filmmuziek niet onder stoelen of banken steekt. Rustpunt in deze korte doch magistrale compositie is de levendige en onderhoudende dialoog tussen klarinet fagot hobo en fluit in het middendeel. De componist schreef dit werk in opdracht van de Stichting Melomaan (Nederland) ter gelegenheid van haar jubileum.

A confident invitation to song this artful choral is a celebration of the power of music in our lives. After an opening flourish the piece delivers a driving theme in seven that proceeds with unrelenting energy. A contrasting middle section provides a quiet moment before plunging back to the main theme. Capped by a festive codetta the piece ends with power. The positive message will inspire and encourage your musicians to change the world with song.

Carl Wittrock's wide interest in global folk-music resulted in this concert-piece based on original African rhythms. Obviously the percussion section has a conspicious role to play but the band too may indulge itself in moments of thoroughly delightful excitement. The introduction depicts the awakening of nature and develops into a dance. The (main) motif of this dance is from a dance entitled Apollo and comes from Gambia. Its accompaniment consists of an ostinato pattern by balaphon-master Maudo Susa. The quiet middle movement is based on the rhythm of the 'gigbo' : a traditional dance from Ghana. In the final movement -which also bears a slight resemblanceto a theme from 'The Lion King'- the so-called 'Kono' rhythm is used. The work is played most advantageously using djembes. Challenge and please your percussion section with 'The African Connection'. Carl Wittrock's brede interesse voor de wereldmuziek resulteerde in dit op originele Afrikaanse ritmes gebaseerde concertwerk. Het slagwerk speelt uiteraard een opvallende rol maar ook het orkest kan zich op een heerlijke manier uitleven. De inleiding schildert het ontwaken van de natuur welke overgaat in een dans. Het motief van deze dans (Apollo) is afkomstig uit Gambia. De begeleiding bestaat uit een ostinaatpatroon van de balafon-meester Maudo Susa. De basis van het rustige middendeel is gelegen in het ritme van de Gigbo een traditionele dans uit Ghana. Het laatste deel (met enige gelijkenis met The Lion King) maakt gebruik van het zogenaamde Kono ritme. Het werk komt het best tot zijn recht als er gebruik wordt gemaakt van djembes.Daag uw percussie sectie uit en doe ze een groot plezier met: The African Connection!

Carl Wittrock's wide interest in global folk-music resulted in this concert-piece based on original African rhythms. Obviously the percussion section has a conspicious role to play but the band too may indulge itself in moments of thoroughly delightful excitement. The introduction depicts the awakening of nature and develops into a dance. The (main) motif of this dance is from a dance entitled Apollo and comes from Gambia. Its accompaniment consists of an ostinato pattern by balaphon-master Maudo Susa. The quiet middle movement is based on the rhythm of the 'gigbo' : a traditional dance from Ghana. In the final movement -which also bears a slight resemblanceto a theme from 'The Lion King'- the so-called 'Kono' rhythm is used. The work is played most advantageously using djembes. Challenge and please your percussion section with 'The African Connection'. Carl Wittrock's brede interesse voor de wereldmuziek resulteerde in dit op originele Afrikaanse ritmes gebaseerde concertwerk. Het slagwerk speelt uiteraard een opvallende rol maar ook het orkest kan zich op een heerlijke manier uitleven. De inleiding schildert het ontwaken van de natuur welke overgaat in een dans. Het motief van deze dans (Apollo) is afkomstig uit Gambia. De begeleiding bestaat uit een ostinaatpatroon van de balafon-meester Maudo Susa. De basis van het rustige middendeel is gelegen in het ritme van de Gigbo een traditionele dans uit Ghana. Het laatste deel (met enige gelijkenis met The Lion King) maakt gebruik van het zogenaamde Kono ritme. Het werk komt het best tot zijn recht als er gebruik wordt gemaakt van djembes.Daag uw percussie sectie uit en doe ze een groot plezier met: The African Connection!

Carl Wittrock's wide interest in global folk-music resulted in this concert-piece based on original African rhythms. Obviously the percussion section has a conspicious role to play but the band too may indulge itself in moments of thoroughly delightful excitement. The introduction depicts the awakening of nature and develops into a dance. The (main) motif of this dance is from a dance entitled Apollo and comes from Gambia. Its accompaniment consists of an ostinato pattern by balaphon-master Maudo Susa. The quiet middle movement is based on the rhythm of the 'gigbo' : a traditional dance from Ghana. In the final movement -which also bears a slight resemblanceto a theme from 'The Lion King'- the so-called 'Kono' rhythm is used. The work is played most advantageously using djembes. Challenge and please your percussion section with 'The African Connection'.

Uses: General Festival Ordination BaccalaureateScripture: Psalm 71This specially commissioned anthem celebrates the life of service and a heart dedicated to praise. A syncopated theme announceswith confidence the attributes of the Almighty and the faithfulness of His promises to those who love Him. A contrasting middle section provides a more intimate moment before a percussive instrumental transition brings back thedrive and energy of the opening. The anthem ends with a final festive Alleluia! Duration: ca. 4:11.

Accurate tab transcriptions and professional backing tracks for seven of the biggest guitar hits of the moment. Play along with your favourite axe heroes with this indispensable rock guitar package. / Guitare Tablatures

Listen (1971) was commissioned by The Norwegian Broadcasting Corporation dedicated to Elisabeth Klein. Traveling through English-speaking countries I always meet people who ask me to listen. Now, listen they invariably say, listen to me, as they call for attention, warn me, or implore me. I want to say listen as it is seldom said - in a musical connotation. Listen to the sound of the piano. Our environment is full of living-room pianos of great value, beautiful to look at but never really intended to be listened to. In Listen I am trying to create a situation within the limitations of the piano, making some aspects of the sound from this black box truly audible. What I want to explore is the situation of people listening and in the process of listening having also the possibilities of choice. That is why the work is full of repeated passages: so many choices are advailable to the listener - enough choices of listening for everybody. The piece utilizes the differences in the length of strings and uses the extreme registers of the piano - very high and very low og right in the middle. The duration of the string vibrations creates a collision of echoes as the vibrations die away. Then the pianist stops playing this process of tonal blend, and disintegration continues within the piano itself, creating the moment of 'Listen'. Arne Nordheim