American composer Celius Dougherty (1902-1986) created lovely arrangements of favourite folksongs and sea chanties. With many selections never before published these editions offer exciting multicultural literature forvoice students and teachers.

from an Old Irish Air-DANNY BOYLow VoicePublisher: Boosey & HawkesComposer: Frederick Edward WeatherlyIn C6 pages

An anthem arranged for ATB voices SATB chorus and strings taken from Volume 14-Sacred Music Part II. Edited by Lionel Pike.

Mittlere Stimme / Medium Voice-As a continuation of the new Urtext edition of the Schubert lieder Walther Dürr has now edited volume five for high medium and low voices. Volumes 1 to 4 of this edition contain mainly lieder which Schubert himself saw into print (in his own choice and order) and in the fourth volume works from the last two years of his life are included. The lieder in volume 5 onwards are strictly presented in the order of Deutsch's Thematic Catalogue which means that in principle they are arranged chronologically.The lieder in volume five were composed in the years 1811 to 1814. The first 'Hagars Klage' (D 5) dated 30 March 1811 is also his first complete surviving song. Thefirst eleven lieder are evidence of his early studies (1811 1813/14). During this period Schubert immersed himself in Johann Rudolf Zumsteeg's ballads and lieder and wrote Italian arias during his composition lessons with Antonio Salieri. He also composed a single strophic song ('Klaglied' D 23) which the only one of these songs was published shortly after his death in November 1830 as op. 131 3. His apprentice work as it were was the major ballade 'Der Taucher' (D 77) which was composed between 1813 and roughly the beginning of 1815. Probably not by chance his first complete opera ('Des Teufels Lustschloss' D 84) was written at the same time. He also set fourteen poems by Friedrich von Matthisson exploring the principle of the strophic lied.- Excellent new engraving based on the 'New Schubert Edition'- Foreword by Walther Dürr discussing the history the works? compositionand transmission together with a list of sources for each song (Ger/Eng)- English translation of the song texts by Richard WigmoreContents:Hagars Klage D 5 / Leichenfantasie D 7 /Der Vatermörder D 10 / Klaglied op. post. 131 3 D 23 / Misero pargoletto D 42 (high voice only) / Totengräberlied D 44 / Die Schatten D 50 / Verklärung D 59 / Pensa che questo istante D 76 (medium and low voice only) /Der Taucher D 77 / Son fra l?onde D 78 (high voice only) /Adelaide D 95 / Trost. An Elisa D 97 /Erinnerungen D 98 / Andenken D 99 /Geisternähe D 100 / Erinnerung D 101 /Die Betende D 102 / Die Befreier Europas in Paris D 104

Hohe Stimme / High Voice-As a continuation of the new Urtext edition of the Schubert lieder Walther Dürr has now edited volume five for high medium and low voices. Volumes 1 to 4 of this edition contain mainly lieder which Schubert himself saw into print (in his own choice and order) and in the fourth volume works from the last two years of his life are included. The lieder in volume 5 onwards are strictly presented in the order of Deutsch?s Thematic Catalogue which means that in principle they are arranged chronologically.The lieder in volume five were composed in the years 1811 to 1814. The first 'Hagars Klage' (D 5) dated 30 March 1811 is also his first complete surviving song. The firsteleven lieder are evidence of his early studies (1811 1813/14). During this period Schubert immersed himself in Johann Rudolf Zumsteeg?s ballads and lieder and wrote Italian arias during his composition lessons with Antonio Salieri. He also composed a single strophic song ('Klaglied' D 23) which the only one of these songs was published shortly after his death in November 1830 as op. 131 3. His apprentice work as it were was the major ballade 'Der Taucher' (D 77) which was composed between 1813 and roughly the beginning of 1815. Probably not by chance his first complete opera ('Des Teufels Lustschloss' D 84) was written at the same time. He also set fourteen poems by Friedrich von Matthisson exploring the principle of the strophic lied.- Excellent new engraving based on the 'New Schubert Edition'- Foreword by Walther Dürr discussing the history the works? compositionand transmission together with a list of sources for each song (Ger/Eng)- English translation of the song texts by Richard WigmoreContents:Hagars Klage D 5 / Leichenfantasie D 7 /Der Vatermörder D 10 / Klaglied op. post. 131 3 D 23 / Misero pargoletto D 42 (high voice only) / Totengräberlied D 44 / Die Schatten D 50 / Verklärung D 59 / Pensa che questo istante D 76 (medium and low voice only) /Der Taucher D 77 / Son fra l?onde D 78 (high voice only) /Adelaide D 95 / Trost. An Elisa D 97 /Erinnerungen D 98 / Andenken D 99 /Geisternähe D 100 / Erinnerung D 101 /Die Betende D 102 / Die Befreier Europas in Paris D 104 /Lied aus der Ferne D 107 (1st version) / Lied aus der Ferne D

Greg Jasperse has followed up his best-selling “VoiceDance” with this equally exciting arrangement “VoiceDance II ” continuing the wordless vocal dance celebrating the human voice and the joy of singingtogether. Bright with bounce and musical joy this piece is perfect for any occasion. A must-have addition to your “VoiceDance” library.

Pleading is a song for solo voice with Piano accompaniment written in 1908. It was composed for and dedicated to the composer's great friend Lady Maud Warrender. It was published as the composer's opus 41 in three arrangements: No. 1 is for medium voice and is set in the Key of G major. Versions for low and high voices are also available. The text is from a poem by Arthur L. Salmon.Edward Elgar (1857-1934) is one of England’s best-known and most-loved composers. He was self-taught as composer coming from outside the musical and social establishment which allowed his music to be fresh and unencumbered.

Selection of Songs within Comfortable Range for older Singers-Compiled and edited by Veronica Veysey Campbell & Liza Hobbs Increasing numbers of people are taking to singing in later life driven in part by increasing medical evidence of of the health benefits it brings. Singing aids physical and neurological well-being but above all it brings enjoyment not only to those who have a lifetime experience of singing (both in choirs and solo) but also for those to whom it comes as an entirely new activity. Everlasting Voices compiled specifically for the older singer contains: 24 songs with a modest vocal range in a wide range of styles; backgrouned notes about the songs and their composers; prononciation guides forsinging in Italian German Spanish and French; a guide to keping your voice healthy; performing advice and technical guidance.

Tona de Brett is an internationally renowned singing teacher and presents her teaching material in this fantastic book which she has worked through with stars of rock jazz and musicals who seek help with their voices.Tona de Brett deals with the various aspects of voice-production through a wealth of exercises and examples. These exercises ? which include warming up breathing technique intonation interpretation and articulation - are notated in full with chord symbols and may also be sung with live instrumental accompaniment. All the vocal exercises are provided on an accompanying CD so you can sing along with Tona de Brett.TheStudio Work section has been written by by Tom West and will help singers prepare for the recording studio.Former pupils of Tona de Brett include: Adam Ant; Matt Bianco; Tears for Fears; Thompson Twins; Brett Anderson (Suede); Vince Clark (Depeche Mode); Paul Hardcastle; Tanita Tikaram; Linda McCartney; Bananarama; Skin (Skunk Anansie); Rick Astley; Andy Summers (Police); Johnny Rotten (Sex Pistols); and Seal.

Adapted from a syllabus originally developed for the Brighton Institute Of Modern Music The Complete Vocal Workout is a thorough guide to training the voice to perform under the duress of modern live and studio conditions. With a full spread of exercises for both male and female voices and with two accompanying demonstration CDs this book is the perfect guide for all those pop and rock star wannabes who wish to train without paying a fortune.

Having been considered as a 'fashionable' and 'cliché' composer of his day Hahn's compositions are possibly not as well-known as they ought to be. If My Verses Had Wings! for Voice & Piano however is one of many compositions that shatter these prejudices held representing the engaging diversity of the composer's music. Venezuelan-born Reynaldo Hahn (1875-1947) entered the Paris Conservatoire at 10 years old. He received a high standard of musical education from Decombes Lavignac Dubois and Massenet before becoming a prolific and versatile composer himself writing works for all genres. For Hahn music was amagical art and his compositions often contain expressions of his otherwise hidden emotions and moods. If My Verses Had Wings! is based on the poetry of Victor Hugo. Moreover this edition of Hahn's If My Verses Had Wings! contrains transcriptions in three different keys making it versatile to a range of voices. Hahn's If My Verses Had Wings! contains a variety of different features making for a pleasant and evocative work for singers and pianists.