SKU: GI.G-1054

UPC: 785147005421.

With a passion for liturgical prayer, the vision of Catholic Social Teaching, and witness of Pope Francis, Lori True has created a collection of sung prayer for communities who want to embrace the unrelenting love of God and the deep challenge of Christ. Here you will find songs for gathering, communion, times of grief, doubt, action, and celebration, all fashioned with texts that foster deep reflection and her signature, accessible melodies, all ready to serve a wide variety of communal gatherings. Take some time to explore “Show By Your Life,” and discover a very unique and prophetic collection of liturgical music that the church desperately needs. CONTENTS: Show by Your Life • O Love, Ever Faithful • Take Our Hands • My Favor Rests on You • Wage Peace • My Daily Portion • In the Morning, in the Evening • Grieve Not • The Hand of Our God • Pardon Is the Instrument • I Will Give You Life • When One among Us • I Send You with the Grace of My Spirit.

SKU: MB.30957M

ISBN 9781513466101. 8.75 x 11.75 inches.

This collection shows a wide variety of musical approaches in open and alternate tunings. The arrangements come from the playing of Davey Graham, Pat Kirtley, Tony McManus, John Renbourn, John Fahey, Sandy Shalk, Dave Evans, Martin Carthy, El McMeen, Leo Wijnkamp and Stefan Grossman. The music ranges from the medieval La Rotta to Willie Brown?s Future Blues from the deep Mississippi delta; from O?Carolan?s Lord Inchiquin to Waterbound, an old-time folksong. From Celtic airs and jigs to gospel and blues you will explore the world of tunings. Hopefully, this collection will help you to discover new approaches and techniques to playing your instrument. Along the way you?ll have fingerpicking challenges and fun.

SKU: SU.27120170

Score only.Black Is the Color Variations is based on the classic American/Scottish folk song, discovered and then developed by John Jacob Niles. My first version of the melody and variations were completed on January 23, 1989, in San Francisco, and is scored for string quartet. On May 25, 2013, I also created a version for string orchestra. It’s dedicated to the memory of the remarkable American folk and blues singer, Odetta, who was a family friend and who sang for us when I was young. —PL Also available: SET OF PARTS string count 6-5-4-3-2 (Cat#27120171) String Orchestra Duration: 4' Composed: 1989 Published by: Lapis Island Press.

SKU: PR.114419810

ISBN 9781491136638. UPC: 680160681921.

Stacy Garrop’s ROAD WARRIOR is music of real-life tragedy, expressed through the power of a trumpet/organ duo. Drawing inspiration from Neil Peart’s autobiographical book, “Ghost Rider: Travels on the Healing Road,” Garrop’s work grieves the loss of a friend’s young son and the journey to healing. ROAD WARRIOR’s evocative movement titles are drawn from passages in Peart’s book:1. I Am the Ghost Rider2. My Little Baby Soul3. Are You With Me Here?.
When Clarion members Keith Benjamin (trumpet), Melody Steed (organ), and I initially discussed possible topics for a new piece, Keith brought up his son Cameron, who had passed away at the age of seven from leukemia. While Cameron’s life ended too soon, he left an indelible and lasting mark on his those surrounding him. Keith asked if I could commemorate Cameron musically.In talking over possible ways to do this, Keith mentioned the book Ghost Rider: Travels on the Healing Road. The book was written by Neil Peart, who is well-known as the longtime drummer and lyricist of the band Rush. Peart suffered the heartbreaking loss of his daughter in 1997, followed by his wife 10 months later. In an effort to work through the grieving process, Peart did what his wife suggested before she passed: he got onto his motorcycle and hit the open road. Ghost Rider chronicles a year of Peart’s life in which he drove for 55,000 miles, zigzagging his way across Canada, the western portion of the United States, Mexico, and Belize. Peart’s powerful story illustrates how he coped with immense loss and eventually emerged on the other side to once again embrace life. Keith had found Peart’s book helpful in dealing with Cameron’s death; moreover, Mr. Peart sent Cameron a signed cymbal while he was in the hospital undergoing treatment. This unexpected gesture of compassion and generosity meant the world to both Cameron and Keith.I chose three phrases from Peart’s book to serve as the inspiration for the movements in Road Warrior. In the first movement, I am the ghost rider, I imagined the performers to be howling phantoms that are haunting drivers on a nearly deserted highway. Peart often mentioned that he felt haunted by ghosts from the past while on his journey, and sometimes felt like a ghost himself, moving through an immaterial world as he rode from town to town. The second movement, My little baby soul, references Peart’s wording to define his own inner essence that he was trying to protect and nurture while on his journey. In this gentle movement, I capture the innocence and simplicity of a newborn soul. The piece concludes with Are you with me here? In this movement, I depict the performers as they search to find connections to those they have lost, and to those still living.Over the course of his travels, Peart kept up a steady letter correspondence with his close friend Brutus. In one of his first letters, he repeatedly asks Brutus if he is with him in spirit. I found it to be very poignant that while in his self-imposed exile, Peart discovered that he still needed connections to humanity.I wish to thank Mr. Peart for granting me permission to use his phrases as the movement titles, and for serving as the inspiration for Road Warrior. Rarely do any of us make it through our lives without being touched by the loss of someone dear to us. I found Peart’s insights into his grieving and recovery process to be insightful, eloquent, and surprisingly comforting. His journey is a touching reminder that with enough fortitude and time, we can work through what fate deals us and continue down our own road of life.

SKU: PR.312419090

ISBN 9781491135778. UPC: 680160687848. English, Hebrew.

In Stacy Garrop’s inspired hands, divisi mixed chorus provides a rich palette of texture and color. Her setting intermingles three versions of the Hebrew folk tune, taking artistic advantage of contrasts between solo and tutti, homophony and grand antiphony, divisi men and divisi women, and the gradual braiding and unbraiding of Hebrew and English texts. LO YISA GOY is the explicitly anti-war Scriptural text better-known in its English translation that begins, “And they shall beat their swords into plowshares... nation shall not lift up a sword against nation.”.
When Jonathan Miller asked me to write two pieces for Chicago a cappella, I knew right away that I wanted to choose two songs from my own past.The first piece, Hava Nagila, is a celebratory song full of joy. I wanted the second work to contrast the first, and to this end, I chose the somber text of Lo Yisa Goy, a prayer for peace. I remember singing this song as a young child in Hebrew school and synagogue, always in context (at least in my congregation) of praying for the state of Israel. I think we’re at a particular point in which people in a lot of different nations could use such a prayer. For this reason, you’ll hear the words in both Hebrew and English.In my research of previous versions of the melody, I discovered three variants for the tune, all of which I have incorporated into my piece.

SKU: GI.G-J383

ISBN 9781622775408.

Through engaging children using Music Play 2, adults may build relationships with newborn and young children, additional family members, and other adults as they joyfully make music together, affirm and nurture newborn and young children’s innate capacities for expressive musicking and movement, and honor and extend young children’s expressed musical curiosities, ideas, and audeas (musical thoughts and ideas), helping them realize that their musical identities are worth sharing, developing, and preserving. Music Play 2 materials function in companion with Music Play (GIA, 1998) and Edwin Gordon’s Music Learning Theory for Newborn and Young Children (GIA, 2013). Music Play 2 (494 pages) is bundled into two parts, Part A and Part B. The following are the features of each part:   Part A (264 pages) Part B (229 pages) Tribute to Edwin Gordon Guiding Newborn and Young Children’s Innate Music Capacities Guiding Young Children Through Types and Stages of Preparatory Audiation: The Materials Using Music Play 2 Inclusion: All Children and Their Families (Salvador) 45 Extended Music Engagement Plans, each with a music selection (i.e., song, song/chant combination, or chant) in a wide variety of tonalities and meters, and prototypical examples of social-music and movement play in relation to Gordon’s three types of preparatory audiation. Each song has a chord root or bass-line melody notated, singable as an additional part, as well as chord functions to guide harmonic accompaniment to the melody. Each plan features More Audeas for Music Play, such as tonal pattern and/or rhythm pattern examples for each type of preparatory audiation, supplemental harmonic and rhythm accompaniments to add to the music selection, and More Ideas for Music Play, such as examples of ways to connect Music Play 2 activities to PK–2 2014 Music Standards, and one inclusion strategy in a Domain of Learning. Guidance for teaching chord root or bass line melodies and additional harmony parts, and chordal accompaniments. Complete listing of all PK–2 2014 Music Standards, along with which extended music engagement plans feature each standard. Indices: Comprehensive Index Headings, Music Play (1998) and Music Play 2 Comprehensive Index of Music Selections Alphabetized by Type and Title: Music Play (1998) and Music Play 2 Modified Comprehensive Index, Music Play 2: Parts A and B Music Play 2: Part A Music Selections Alphabetized by Type and Title Music Play 2: Part A Music Selections Alphabetized by Title 71 Music Engagement Plans, each with a music selection (i.e., song, song/chant combination, or chant) in a wide variety of tonalities and meters, and prototypical examples of social-music and movement play in relation to Gordon’s three types of preparatory audiation. Each song has a chord root or bass-line melody notated, singable as an additional part, as well as chord functions to guide harmonic accompaniment to the melody. Apply More Audeas and More Ideas you discover using Part A to music selections and engagement plans in Part B. Part B features tonalites and meters unique to music selections in Part B, and “Hello” and/or “Goodbye” music selections. Guidance for teaching chord root or bass line melodies and additional harmony parts, and chordal accompaniments. Editor and Contributor List (83 total) An 11-page, comprehensive bibliography and resource list to support researchers and practitioners and promote their audiation-based social-music and movement play with others, especially during early childhood. Indices: Comprehensive Index Headings: Music Play (1998) and Music Play 2 Comprehensive Index of Music Selections Alphabetized by Type and Title: Music Play (1998) and Music Play 2 Modified Comprehensive Index, Music Play 2: Parts A and B Music Play 2: Part B Music Selections Alphabetized by Type and Title Music Play 2: Part B Music Selections Alphabetized by Title Download Music Play 2 Extended Indexes (free)   Music Play 2 is a welcomed contribution for all who are concerned with appropriately guiding children’s musical understandings—parents, teachers, and caregivers. The book is extremely well organized with an excellent balance of theory and practice. The theoretical underpinnings of Music Play 2 are presented in a “user friendly” manner, the lessons are easy to follow and adapt for individual children’s needs and level of development, the numerous songs and chants represent a wide variety of tonalities and meters, and an extensive section on inclusion and inclusive practices has been added. Music Play 2 will be the resource I use for my early childhood music classes! —Joanne Rutkowski, Ph.D., Professor Emeritus, Music Education     The Pennsylvania State University This book had me interested from the table of contents onward. The lessons are detailed and ready to use in the classroom. I love that there are tonal and rhythmic patterns to go with each song or chant. This is truly a resource that will delight children and teachers as it is easy to use, appropriate for young children, and pedagogically sound. When I finished, I was ready to jump back into teaching early childhood music. Fantastic! —Alice M. Hammel, Ph.D.     James Madison University Music Play 2 is devoted to the wonder of young children’s musical development. The authors have adeptly woven theory and practice, offering a treasure trove of fresh, accessible lesson plans developed by leading researchers and practitioners in the field of early childhood music. An excellent, indispensable resource with original and high-quality music content, Music Play 2 is essential for all providers of music for young children, and sure to be used time and time again. —Suzanne L. Burton, Ph.D., Professor of Music Education     University of Delaware.

SKU: SS.50600030

Commissioned by the Colonial Symphony, Paul Hostetter, Music Director and Conductor. First performed in 2006. Composer's Note: My inspiration for Smiling Dennis is the great bass clarinet virtuoso Dennis Smylie. I have had the pleasure of getting to know Dennis over the past several years owing to our mutual affiliation at Montclair State University. We would meet unintentionally in the halls and begin conversations regarding all manners of topics: from the colorful history of the bass clarinet - and bass clarinetists - to the furious appetite of the New Jersey groundhog. Dennis inevitably finds the humor in things - he revels in discovering the comic story that can often be found, just underneath the topic. When Maestro Hostetter asked me to compose a new piece during his initial season with the Colonial Symphony, and mentioned the possibility of a work related to humor, I immediately thought of the Dennis. When I spoke with Maestro Hostetter the following day, I had already conceived of the title (very unusual for me - I'm much more a musical/visual thinker than a verbal one) as well as the overall musical narrative. Smiling Dennis is a concerto in one movement for one bass clarinetist and twenty string players. Somewhat unusually, each performer has a unique musical assignment - that is, the string players are not aligned into their typical alliances of first violins, second violins and so forth. This permits a more complex string texture, allowing each performer to assert his or her individuality. Indeed, the notion of individuality is essential to this concerto, as it often is in concerti. For example, Smiling Dennis begins with the bass clarinet not quite obeying the conventions of tuning to the orchestra. Rather than simply take the A offered by the Concertmaster, the soloist playfully performs a gently descending series of notes. Offered another A, the soloist repeats this gesture (though with a different descending series). This exchange occurs four times. In the final one, members of the string orchestra join the soloist in the first significant statement of one of the central melodies. The bass clarinet completes this introductory section alone, playing all the way down to a low A, a third below the lowest note in the celli. Following the introduction, Smiling Dennis consists of six sections, somewhat along the lines of a dance suite: an energetic Allegro, a lyric Arioso, a forward Piu mosso, a light-hearted and syncopated dance, a even more energetic passage for strings alone, and finally a modified return to the introduction. In the return, the string ensemble is no longer at all oppositional to the soloist. Rather, in response to the soloist's gentle cajoling and supportive commentary, the strings accompany - with pleasure, you might say - the quiet, individual playfulness of the bass clarinet. The work ends with a return to the soloist's substratum A, accompanied quietly by the strings.

SKU: CN.19880

As a young composition student at the Curtis Institute of Music, my teacher, Gian Carlo Menotti, suggested that I write some music for children. He believed that, when writing for children, a composer would soon discover what was true and honest and what was shallow artifice. I was soon to discover that he was right. One of my first published works was a children's ballet entitled The Enchanted Lake. In 1966, I published my first series of piano pieces for children, A Lexicon of Beasties. They were dedicated to my daughters. I now have a 12-year-old son. It seemed fitting that I now write some pieces for him. He plays and enjoys these. It is my hope that they will give pleasure to many others.

(1) SHADOW RIDGE RAG - A spirited dance with infectious syncopation and some charming harmonic surprises.
(2) THE RIVER - An elegant new setting of a lovely English folk song.
(3) FLASH and DASH - A showy, extroverted piece filled with energy and unexpected glissandi.

SKU: AP.12-0571542972

ISBN 9780571542970. English.

Discover the enchanting world of Yiruma with the official piano sheet music from his best-selling recorded album, Solo. Released in 2021 to celebrate the 20th anniversary of Yiruma's debut as a composer, Solo features best-loved works including Kiss the Rain and chart-topping sensation River Flows in You.

Yiruma Solo: Original presents the composer's own official authorized scores for each piece from Solo. Featuring all the tunes fans want to play, these luxury editions with thread-sewn binding and gold foiling also include exclusive photography and an inspiring note from the composer himself.

I have compiled a list of my pieces for solo piano that have existed for a long time. These works were the simplest way of capturing a specific moment and feeling when I wrote them. I would like to share these moments with you now and wish sincerely that my music be a hand to hold along the winding path of life. — Yiruma

These deluxe books… offer the best introduction to Yiruma's music that anyone could hope for. Andrew Eales, Pianodao.com.

SKU: PR.140401310

ISBN 9781491134153. UPC: 680160684250. 9 x 12 inches. Key: G major.

NORA’S DANCE is a jazz-influenced rag from 1921, and among the only surviving compositions by Nora Douglas Holt. A charming and exciting work rejuvenated by Lara Downes’ 2021 recording for the Rising Sun label, the rag is both a fun 2 minutes for pianists and audiences, and also a fascinating time capsule. Composed several years after Scott Joplin’s death, and several years before the Charleston pervaded popular music, NORA’S DANCE blossoms with the energy and jazz harmony starting to emerge as The Roaring 20’s, using ragtime and stride as the seed for pianistic style.
My own life in music has been driven by a quest to find strong female role models, trails to follow, shoulders to stand on. In Nora Douglas Holt, I find an inspiring example of creativity, independence, and resilience – with a dash of troublemaking. She was a free spirit, a force of nature, and she lived a fascinating and eventful life on her own terms. She reinvented herself through five marriages and at least as many careers. From her beginnings at the piano at age four, she explored many avenues of musical expression – performing, composing, music journalism, broadcasting, teaching – all with inventiveness, style, and zeal.She made the most of the Roaring ’20s, as an artist, socialite, jetsetter, muse, and patroness of the Harlem Renaissance. In 1921 she started an independent arts journal called “Music and Poetry,” where the charming piano solo Nora’s Dance was first published. I think the piece captures beautifully, in a little under 2 minutes, the energy and excitement of those heady years.In 1926, Nora left New York to travel the world, performing in nightclubs throughout Europe and Asia. She put her belongings in storage before she left, and when she came back she discovered that many of her things had been stolen, including more than 200 of her musical compositions. She never composed again.When the Depression hit, she moved out to Los Angeles, where she studied music education at USC, taught music in the LA public schools, and opened her own beauty salon. She returned to New York in the ’40s and worked as a music critic for several major newspapers, then launched yet another career, this time in broadcasting. Her popular radio concert series “Nora Holt’s Concert Showcase” broadcast to New York’s classical music audience, with a focus on Black composers and performers.Ahead of her time, larger than life, full of ideas…. I am so pleased to introduce you to the feisty and free spirited Nora Douglas Holt!