366 More Great Songs for Better Living. Arranged by Jim Beloff, Liz Beloff. Fake Book. Country, Pop, Standards. Softcover. 416 pages. Published by Hal Leonard (HL.212971).

By Bob Dylan. By Bob Dylan. Arranged by Don Giller and Ed Lozano. Music Sales America. Folk, Pop, Rock. Softcover. Composed 2016. 788 pages. Music Sales #AM978923. Published by Music Sale

Lyrics/Chords Ukulele

SKU: HL.232108

By The Beatles. Ukulele. Pop. Softcover. Composed 2014. 384 pages. Hal Leonard #NO91894. Published by Hal Leonard (HL.232108).

ISBN 9781783052738. UPC: 888680677329. 4.5x7.5x0.899 inches.

Complete lyrics and chords to 195 Beatles songs, including: Across the Universe • All My Loving • All You Need Is Love • And I Love Her • Back in the U.S.S.R. • The Ballad of John and Yoko • Birthday • Blackbird • A Day in the Life • Day Tripper • Dear Prudence • Drive My Car • Eight Days a Week • Eleanor Rigby • Good Day Sunshine • Got to Get You into My Life • A Hard Day's Night • Help! • Helter Skelter • Here Comes the Sun • Hey Jude • I Saw Her Standing There • I Want to Hold Your Hand • In My Life • Let It Be • The Long and Winding Road • Lucy in the Sky with Diamonds • Penny Lane • Revolution • Something • Ticket to Ride • Twist and Shout • When I'm Sixty-Four • While My Guitar Gently Weeps • Yellow Submarine • Yesterday • and more. 4-1/2 inches x 7-1/2 inches.

By Various. Music Minus One. Softcover with CD. 28 pages. Music Minus One #MMO2148. Published by Music Minus One (HL.149002).

(Low Voice). Composed by Various. For Voice. Fake Book. Softcover. 472 pages. Published by Hal Leonard

(High Voice). By Various. For Voice, Piano Accompaniment. Fake Book. Softcover. 472 pages. Published by Hal Leonard

SATB Choir

SKU: BT.MUSM570368679

For choir and fixed media. Composed by Evis Sammoutis. Score Only. Composed 2019. 14 pages. University of York Music Press #MUSM570368679. Published by University of York Music Press (BT.MUSM570368679).

Isthmus denotes a narrow strip of land with sea on either side, forming a link between two larger ars of land. The title is a metaphor for an effort to bond artistically my experiences of living in Cyprus, my birthplace, and in the USA, my recently adopted homeland. Having lived in a small, partitioned island for my formative years and in England for eleven years, water has always had a double meaning: it has at once served as a gateway to other cultures but also as a border, a violent and absolute interruption of a continuum. While in the USA, or indeed in a now connected Europe, it is possible to travel on land for days without having to encounter a border, in the countries where I lived for most of my life, that was not possible. As an artist, this notion of establishing boundaries and consciously trying to break them is very close to me, as my music deals both with modernity but also with tradition and, similarly, with metaphor and reality. As a Cypriot, the sea, the world of antiquity, the mysteries of the oracles, the notion of borders and the pastoral are all very central to my way of thinking. In Cyprus, different layers of history are frequently superimposed on a single building that might still preserve its Roman, Byzantine, Venetian and Ottoman features in its layers of stone and architecture. Similarly, ancient ruins or the barbed wire of modern conflict often interrupt placid fields. An isthmus, therefore, can be seen to symbolize my artistic struggle to join strikingly different experiences and notions in a cohesive way. Similar to an isthmus, in this short piece, I connect these experiences with the purpose of creating a distinct and unique sonic context, connecting technology and tradition, the pastoral with the urban, the musical with the extra-musical and the abstract with the concrete. For example, the choir does not always sing in the traditional sense, but the singers imitate various natural sounds, such as water, air, crickets or birds, to create a vivid visual impression for the work. Scandinavian herding calls blend with field recordings from the seas of Cyprus and the lakes of Upstate New York, communicated within clearly defined, singular acoustic sources and spaces through wireless speakers. The text used is both onomatopoeic, articulating an imaginary language, but also literal, with a setting of the poem, “To make a prairie” by the iconic American poet Emily Dickinson and a tiny fragment from Callimachus’ “Hymn to Demeter.” Technology is used sparsely and very intentionally to articulate the expressive qualities of pastoral imagery, creating one unified synthetic timbre with the choristers’ sounds. This piece is dedicated to the wonderful singers of the Georgia Institute of Technology Chamber Choir with special thanks to Professors Hsu and Ulrich, without whose support this composition would not have been possible. Practical notes: A choir of no less than 24 singers is sought with 4 additional soloists (2 Sopranos and 2 Altos). Each singer must have their own wireless speaker, secured either in the music folder or as a strap inside their shirts. All sounds must match in volume the sound from the speakers, creating one unified timbre. The speakers should not be noticeable to the public. The four soloists are placed offstage at the beginning of the work. From 1:35’ onwards they enter the hall and take their positions, ideally at the four corners of the hall. If the hall is too large, the singers can find alternate positions, but these should always be antiphonal. The four soloists sing predominantly in the “kulning” style and the antiphonal aspect is very important to the work. There are two sound files for each section (SATB) that are triggered by each singer’s mobile device. The first occurs at the start of the piece, and the second, about a minute before the end. The sound files are able to be purchased separately, on CD, or are available directly from UYMP.

(4th Edition ) For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Pop rock, rock and pop. Series: Hal Leonard Fake Books. 584 pages. 9x12 inches. Published by Hal Leonard.

(C Instruments). By Various. For C Instruments. Fake Book. Softcover. 520 pages. Published by Hal Leonard

(Music of the Stars Volume 15). By Nancy Wilson. Piano/Vocal/Guitar Artist Songbook. Softcover. 80 pages. Professional Music Institute #44037. Published by Professional Music Institute

Music Minus One Vocals 10 Favorites with Sound-Alike Demo and Backi. By Ed Sheeran. Music Minus One. Pop. Softcover Audio Online. 80 pages. Published by Music Minus One

Composed by Stanley M. Hoffman. Advanced/Collegiate. Lament/Grief/Sorrow, 21st Century. Octavo. Published by Galaxy Music Corporation (EC.7.0696).

(Mezzo-Soprano/Belter Edition). By Various. Edited by Richard Walters. Vocal Collection. 184 pages. Published by Hal Leonard

Chamber Music Violin

SKU: PR.144407530

Composed by Lauren Bernofsky. 12 pages. Duration 10 minutes, 30 seconds. Merion Music #144-40753. Published by Merion Music (PR.144407530).

ISBN 9781491136614. UPC: 680160687992.

A violinist herself, Lauren Bernofsky has described SONATA FOR SOLO VIOLIN as drawn from autobiographical inspiration, including gestures from Bachâ??s beloved Partita in E Major. Bernofsky opens with a Preludio movement whose references to Bach may be disguised, but they are surely lurking. The second movement is lusciously contrapuntal with the idiomatic finesse of a violinist composing for her own instrument, while musically journaling the emotional pain of living through 2020. The third and final movement is aptly marked â??white-hot,â? and the music certainly is.
My SONATA FOR SOLO VIOLIN was commissioned by violinist Megan Healy as part of The Maud Powell Project, which celebrated the 100th anniversary of the ratification of the 19th Amendment. The project included the creation of five new works for solo violin inspired by and dedicated to the memory of pioneering American violinist Maud Powell (1867-1920). Healy premiered the sonata on May 8, 2021 at PianoForte Studios in Chicago.Among the works Powell most frequently performed in her recitals was the â??Preludioâ? movement from Bachâ??s E major Partita, and I decided to refer to that music in my own first movement, also titled â??Preludio.â? The beginning subtly reflects Bachâ??s opening three-note motive, wherein the music dips down a semitone and then comes back up. This melodic material returns throughout the movement in various forms. I also refer to Bachâ??s sixteenth-note dominated texture, and the gesture in the third measure, which outlines a perfect fifth and then fills it in with notes that alternate between a scale and a pedal tone. The corresponding passage in my piece occurs in the same place, measure 3. Apart from these references to Bach, my sonata is much more modern sounding, especially in its chromatic character.I was still thinking of Bachâ??s solo violin writing while composing the second movement, particularly the polyphonic nature of the slow movements, where the melodic interest moves around between the voices. Emotionally, I wanted my movement to reflect the acute sadness I had been experiencing over the political and social situation in the United States as I wrote the piece. I realized that this is a historically noteworthy time in U.S. history, marked not only by political unrest, but also by a challenge to the very values that I consider essential to what makes a person fundamentally human. I wanted to create a record of that pain in my music.The final movement is marked â??White-hot.â? It is imbued with a relentless, passionate intensity. Wanting again to reflect aspects of our own time, I included glissandi that refer to rock music, specifically the â??fall-offsâ? I frequently hear played by electric guitarists. I borrowed from another (completely different) musical tradition as well, one that is near-and-dear to my heart: Klezmer. Klezmer (Eastern European Jewish folk music) is characterized in part by scales colored by augmented seconds, and is often performed by solo instrumentalists who improvise embellishments like quick grace notes. The second, more lyrical theme in this movement is my nod to Klezmer style.While this piece is an homage to Maud Powell, I also think of it as my own musical autobiography, as it combines some of my favorite aspects of music, and is played on my own instrument.

Easy Piano Piano/Keyboard

SKU: HL.282483

The New Decade Series. Composed by Various. Easy Piano Songbook. Pop, Rock. Softcover. 424 pages. Published by Hal Leonard (HL.282483).

ISBN 9781540034403. UPC: 888680789275. 9.0x12.0x0.967 inches.

Almost 70 contemporary hits released since 2010 in easy piano arrangements with lyrics: All About That Bass • Bad Romance • Brave • Call Me Maybe • Cups (When I'm Gone) • Feel It Still • Get Lucky • Happy • Havana • Hey, Soul Sister • I Will Wait • Just Give Me a Reason • Let It Go • Mean • Moves like Jagger • Need You Now • Radioactive • Rolling in the Deep • Shake It Off • Stay with Me • Thinking Out Loud • Uptown Funk • We Are Young • and more.

By Various. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords). Softcover. 386 pages. Published by Hal Leonard.

SKU: HL.438838

EAST SOUND RESEARCH. Guitar Pedal. Hal Leonard #CM0024. Published by Hal Leonard (HL.438838).

UPC: 852940000820. 5.5x8.0x2.5 inches.

While chatting over a...um 'coffee' one day a while back, guitar ace Greg Howe asked Carl whether he could develop a pedal that would re-create his signature sound. A pedal that would combine Greg's unique High Gain and Crunch tones, but allow him to manipulate these sounds and layer them for even more guitar fun. A little unorthodox yes, but Carl was never one to back down from a challenge, nor one to think inside the box. The result is the Greg Howe Signature Lick Box, and not only does it fulfill Greg's requirements, but it adds even more great tones to Greg's palette! So what is this crazy pedal? Well, at first glance it looks like many other Carl Martin pedals...there is a High Gain channel which has loads of bottom end and nice crisp highs, a very dynamic Crunch channel which emphasises the mids with very little compression, and of course that famous 12db Boost channel that we are all so familiar with. So that's it? Ok, so the High Gain and Crunch channels were voiced to Greg's spec's but it's still just a pedal based on Greg Howe's own signature tones? Nope...underneath the simple cosmetics is a rethinking of how these channels work together. Yes, you can use either the High Gain or Crunch channels on their own (and they are awesome!), and you can adjust the tone for each with it's dedicated Tone control, and yes, you can also add up to 12 db of crystal clean Boost to either of those channels...but you can also turn on both gain channels together! By placing the High Gain first in the chain, you allow the Crunch voicing to overrule the High Gain while adding a few db to your volume. You lose some of the lows and highs, but this results in a focused and controlled mid-range that cuts through the mix. Of course you can add up to 12 db of clean Boost as well for meatier leads dripping with tone and sustain! The Greg Howe Lick Box features the usual cast metal casing, the high quality switches with 'on' indicating LED's, and the new Carl Martin DC/DC converter circuitry. This new power circuit allows you to use a 9V Power Supply while still maintaining the +-12V circuitry that is crucial for component quality and extra headroom above most 9V pedals. Of course we recommend the Carl Martin ProPower Version 2 as the power supply of choice. Power consumption is a surprising 150 mA.

In All Major and Minor Keys. Composed by J. B. Albert. Edited by Julie DeRoche. Book. With Standard notation. 32 pages. Carl Fischer Music #O99X. Published by Carl Fischer Music

Flute. Composed by Andrew Lloyd Webber. Instrumental Solo. Broadway. Softcover. 56 pages. Published by Hal Leonard

Cello. Composed by Andrew Lloyd Webber. Instrumental Solo. Broadway. Softcover. 56 pages. Published by Hal Leonard

Horn. Composed by Andrew Lloyd Webber. Instrumental Solo. Broadway. Softcover. 56 pages. Published by Hal Leonard