Book with Online Audio. String Letter Publishing. Fingerstyle Instruction. Softcover Audio Online. With guitar tablature. 80 pages. Published by Hal Leonard

Drum Play-Along Volume 49. By Various. Drum Play-Along. Rock. Softcover Audio Online. 40 pages. Published by Hal Leonard

Performed by Robert Johnson. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords). Size 9x12 inches. 216 pages. Published by Hal Leonard.

Performed by Robert Johnson. Easy Guitar (Simplified arrangements for guitar). With notes and tablature. Size 9x12 inches. 48 pages. Published by Hal Leonard.

Band concert band - Grade 3

SKU: CF.CPS250F

Composed by Peter Sciaino. Full score. 27 pages. Carl Fischer Music #CPS250F. Published by Carl Fischer Music (CF.CPS250F).

ISBN 9781491159583. UPC: 680160918171.

Kaleidoscope Sky is inspired by the breathtaking pastime of hot-air ballooning and the glorious festivals around the world that honor the practice. A sky full of colorful spheres elegantly floating at the Albuquerque International Balloon Fiesta, International Balloon Festival of Saint-Jean-sur-Richelieu, Bristol International Balloon Fiesta, Mondial Air Ballons and more draw thousands of people to witness awe-inspiring scenes full of passionate balloonists. Traditional hot-air balloons mix with creatively designed balloons to thrill the tens of thousands of spectators below. While I personally am not a person who dreams of taking my own flight--heights are not my thing--I have to marvel at how gently and easily these vessels float among the clouds. It truly is an image of exquisite freedom. This piece reflects the view and experience of the onlooker taking in an elegantly shifting scene reminiscent of kaleidoscope patterns. Spectators like me can appreciate the beauty and vibrancy associated with a horizon full of adventurous balloonists and their wondrous aircrafts. Kaleidoscope Sky starts in a triumphant and celebratory fashion and continues to conjure images reminiscent of the wide variety of soaring colors on display at a hot-air balloon event. Ultimately, the piece appropriately concludes with a suspenseful, yet graceful, run to the finish line. Melodic lines should soar with attention being paid to phrase markings and assigned articulations. Encourage musicians to allow room for the melodic material to be heard in thicker textures where supporting harmonies are often rhythmic in nature. These harmonies should support, and not cloud the melodies. The meter changes should sound effortless, and the continuous figures in the percussion will help to achieve this effect. The snare drum, in particular, should bring accented notes to the foreground while maintaining a steady textural effect with non-accented notes as a rhythmic background. This will go a long way in finding a cohesive subdivision and ensemble pulse.
Kaleidoscope Sky is inspired by the breathtaking pastime of hot-air ballooning and the glorious festivals around the world that honor the practice. A sky full of colorful spheres elegantly floating at the Albuquerque International Balloon Fiesta, International Balloon Festival of Saint-Jean-sur-Richelieu, Bristol International Balloon Fiesta, Mondial Air Ballons and more draw thousands of people to witness awe-inspiring scenes full of passionate balloonists. Traditional hot-air balloons mix with creatively designed balloons to thrill the tens of thousands of spectators below. While I personally am not a person who dreams of taking my own flight—heights are not my thing—I have to marvel at how gently and easily these vessels float among the clouds. It truly is an image of exquisite freedom. This piece reflects the view and experience of the onlooker taking in an elegantly shifting scene reminiscent of kaleidoscope patterns. Spectators like me can appreciate the beauty and vibrancy associated with a horizon full of adventurous balloonists and their wondrous aircrafts. Kaleidoscope Sky starts in a triumphant and celebratory fashion and continues to conjure images reminiscent of the wide variety of soaring colors on display at a hot-air balloon event. Ultimately, the piece appropriately concludes with a suspenseful, yet graceful, run to the finish line.Melodic lines should “soar” with attention being paid to phrase markings and assigned articulations. Encourage musicians to allow room for the melodic material to be heard in thicker textures where supporting harmonies are often rhythmic in nature. These harmonies should support, and not “cloud” the melodies. The meter changes should sound effortless, and the continuous figures in the percussion will help to achieve this effect. The snare drum, in particular, should bring accented notes to the foreground while maintaining a steady textural effect with non-accented notes as a rhythmic background. This will go a long way in finding a cohesive subdivision and ensemble pulse.

(Music, Movement and More! The Music Magazine for Grades K-6). Composed by Kris Kropff. For unison choir, Orff Instrument. Games and CD. Published by Heritage Music Press

Bassoon, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.16400261S

Composed by Dan Welcher. With Standard notation. Duration 15 minutes. Theodore Presser Company #164-00261S. Published by Theodore Presser Company (PR.16400261S).

UPC: 680160038411.

Since the bassoon is my own instrument, many people have asked me why I've written so little for the instrument. Beyond my early Concerto Da Camera for bassoon and small orchestra, written for Leonard Sharrow in 1975, I've not written a single piece that features the bassoon as a solo vehicle (though I have written three woodwind quintets). When I first began composing seriously, critics were quick to point out that my orchestral writing revealed nothing of my roots as a woodwind player--and bassoonists asked why my pieces didn't have more bassoon solos. Perhaps I was so aware that people were looking at me as a bassoonist/composer that I was determined to remove that stigma. Now that my transformation from performer to composer is complete, however, it's time to re-address my instrument. I wanted this new piece to be serious rather than whimsical. The Wind Won't Listen represents my return to the bassoon as the highly expressive, poetic soul that it is.   As such, it shouldn't come as a surprise that the piece is based on a poem, and that the title of the piece as well as both its movement titles come from lines in that poem. I first read Beth Gylys' poem Split at the MacDowell Colony in the summer of 2001, and it made a big impression on me. My personal life had been ruptured by divorce in the preceding year. This poem, with its dry insistence on observation rather than feeling, expressed the wrung-out state of my emotions at the time better than any I had seen. I set it to music, as a song, immediately. In this format, for voice and piano, I was able to put a musical note to every word of the poem. The first lines of the poem, Everyone I know is crying, or should be crying, became a melody that haunted me even without the words.   The work for bassoon and string quartet is an outgrowth of the song. The first movement is labeled Romanza, and has a loose formal arch structure of A-B-C-B-A, with B and C being fast sections framed by the lamenting A music. In addition to hearing the bassoon's first notes attached to the lines Everyone I know is crying, there's a sense of agitation, of loss, of longing, and at times of desperation in the music. At one point, the opening theme from Tristan even appears in the strings.   The second movement follows, without a real pause--the pizzicato final chords of the first movement becoming the increasingly aggressive opening chords of the second. The recitative is actually a foreshadowing of the basic theme that will be varied, again to the words of the song: Life makes itself without us. Don't let me tell you how it is. Go out. Look. The recitative begins in an anguished state, but subsides into more gentle singing by the end, when it simply falls into an ostinato 5/8-3/4 pattern to begin the variations. Marked Very steady tempo; Dancing, this set of variations consists of three dances, each faster than the previous. The first, in the aforementioned 5/8-3/4 meter, gives way to a 3/8 scherzo, which in turn takes on a furious 2/4 scurrying motion. The music becomes breathless, almost pulse-less, and an ethereal theme appears in the violins while the rushing music continues, sotto voce in the bassoon. This new theme is also from the song: Why do I do this? The wind won't listen. The bassoon re-states its Everyone I know is crying melody from the first movement, and at length the 5/8-3/4 music returns, more subdued this time. The piece ends on a major-minor chord, suspended.   The Wind Won't Listen is dedicated to the man who commissioned it, bassoonist Steven Dibner--who shares my passion for poetry and language. --Dan Welcher.

March/April 2017. Composed by John Jacobson, John Williams, Lin-Manuel Miranda, Roger Emerson, Rollo Dilworth, Tom Anderson. Arranged by Emily Crocker, John Higgins. Music Express. Classroom Resources, Choreography, Young Choir, Children's Choir, Elementary, Children, Cross-Curricular. Softcover Media Online. Published by Hal Leonard (HL.160528).

Collection (with audio & PDF access) Choral (Book with Audio Online)

SKU: HL.141805

Seasonal Songs, ACtivities and Projectable Song Charts. Composed by Cristi Cary Miller. Music Express Books. Collection, Elementary, Resource. Softcover Audio Online. Published by Hal Leonard (HL.141805).

ISBN 9781495010729. UPC: 888680046330. 8.5x11.0x0.189 inches. Cristi Miller/Elizabeth Shier.

From the first day of school to the last, this multi-media song collection is filled with music fun for your little ones! Play a name game, make new friends, move and freeze with the Spider dance, echo rhythm patterns with Turkey Tom, scat sing with call and response, and much more! The all-in-one format features: creative, new lyrics set to familiar tunes for quick learning; full color projectable song charts with lyrics and embedded audio for instant sound with a single click; activity visuals to reinforce steady beat, rhythm reading, fast/slow, loud/soft, solfege patterns (so la mi re do), and more; reproducible melody sheets for young readers; quality lesson plans that feature separate teaching sequences for Kindergarten, 1st Graders and 2nd Graders. The projectable song charts and activity visuals are included via digital download access and viewed in your browser, so there is no need for special software. Just download the files onto your computer and you're ready to go! Performance and accompaniment audio recordings are also available in a separate folder via download for performance options. Suggested for grades K-2.

A Step-by-Step Breakdown of the Legendary Guitarist's Style and Technique. By Robert Johnson. Edited by Dave Rubin. Hal Leonard Guitar Signature Licks. Delta Blues, Blues and Instructional. Instructional book (song excerpts only, softcover) and examples CD. With guitar tablature, standard guitar notation, black and white photos, introductory text, instructional text and guitar notation legend. 63 pages. Published by Hal Leonard

(for solo multipercussion). Composed by Alan Keown. For Multipercussion Solo. Percussion Solos. Medium-Advanced. Solo part. 12 pages. Duration 6 minutes, 40 seconds. Published by Tapspace Publications