Ligne De Mélodie, Paroles et Accords [Partition] - Facile Hal Leonard
Easy guitar/vocal songbook for guitar and voice. With leadsheet notation (includ...(+)
Easy guitar/vocal
songbook for guitar and
voice. With leadsheet
notation (includes melody
line and chords), chord
names, guitar chord
diagrams, strum and pick
patterns and lyrics.
Series: Easy Guitar. 176
pages. Published by Hal
Leonard.
Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vo...(+)
For voice, piano and
guitar chords. Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names and guitar
chord diagrams. Gospel.
288 pages. 9x12 inches.
Published by Hal Leonard.
Chamber Music Organ, Trumpet SKU: PR.114419810 Composed by Stacy Garrop. ...(+)
Chamber Music Organ,
Trumpet
SKU:
PR.114419810
Composed
by Stacy Garrop. Set of
Score and Parts. 33+12
pages. Duration 21
minutes. Theodore Presser
Company #114-41981.
Published by Theodore
Presser Company
(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,â€
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.
The Songs of Lennon, McCartney, Harrison and Starr. Performed by The Beatles. Ly...(+)
The Songs of Lennon,
McCartney, Harrison and
Starr. Performed by The
Beatles. Lyrics only.
Complete lyrics to every
song ever recorded by The
Beatles. Size 7x10
inches. 256 pages.
Published by Hal Leonard
By Various. E-Z Play Today (Easy big-note right-hand-only arrangements for piano...(+)
By Various. E-Z Play
Today (Easy big-note
right-hand-only
arrangements for piano,
organ, and electronic
keyboard). Size 9x12
inches. 368 pages.
Published by Hal Leonard.
Piano, Voix et Guitare [Partition] - Intermédiaire/avancé Hal Leonard
Performed by Stevie Wonder. For voice, piano and guitar chords. Format: piano/vo...(+)
Performed by Stevie
Wonder. For voice, piano
and guitar chords.
Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names and guitar
chord diagrams. Smooth
soul, classic soul and
pop rock. 367 pages. 9x12
inches. Published by Hal
Leonard.
Performed by The Beatles. Piano/Vocal/Chords (Arrangements for piano and voice w...(+)
Performed by The Beatles.
Piano/Vocal/Chords
(Arrangements for piano
and voice with guitar
chords). Size 9.5x12.7
inches. 896 pages.
Published by Hal Leonard.
Piano and orchestra SKU: FG.55011-372-5 Composed by Matthew Whittall. Stu...(+)
Piano and orchestra
SKU:
FG.55011-372-5
Composed by Matthew
Whittall. Study score.
Fennica Gehrman
#55011-372-5. Published
by Fennica Gehrman
(FG.55011-372-5).
ISBN
9790550113725.
Imag
es of the sea figure
prominently throughout my
life and memories: from
holidays on the Atlantic
coast during my Canadian
childhood to my current
Baltic home, and the
imagined, only later
experienced Mediterranean
of my ancestral heritage.
As an immigrant (son of
an immigrant) bound to
two northern countries,
the sea is emblematic of
my twin homelands, from
the expanses of water
surrounding them to those
separating them. A Mari
usque ad Mare. The sea is
also an enduring image of
the unknown, of expanses
unexplored, of the raw
power of nature and, for
too many currently, of
terror holding a hope of
refuge - or the pain of
loss. Such disparate
ideas were captured for
me in the seascapes of
the New York painter
MaryBeth Thielhelm, whom
I met in 2008 during a
residency on the Gulf of
Mexico. Her vast,
abstract, nearly
monochromatic depictions
of imaginary seas in
wildly varying moods were
the catalyst for a
concerto where the piano
is frequently far from a
hero battling a
collective, but rather
acts as a channel for
elemental forces surging
up from the orchestra,
floating - sometimes
barely so - on its
constantly shifting
surface. There are few
themes to speak of,
beyond a handful of
iconic ideas that
periodically cycle
upward. Rather, the
piano's material is
largely an ornamentation
of the more primal
rhythmic and harmonic
impulses from the
orchestra below - a
poetic interpretation, if
you will, of the more
immediate experience of
facing the vastness of
some unknown body of
water. The title
Nameless Seas is borrowed
from one of Thielhelm's
exhibitions, as are those
of the four movements,
which are bridged
together into two halves
of roughly equal weight -
one rhapsodic and free,
the other more
single-minded and direct,
separated only by a short
breath. The opening
movement, Nocturne, is
predominantly calm, if
brooding, darkness and
light alternating
throughout. Lyrical
arabesques sparkle over
gently lapping
cross-currents in the
strings and mirrored
timpani, the piano's full
power only rarely
deployed. The waves
gradually build, drawing
in the full orchestra for
a meeting of forces in
Land and Sea, a brighter,
more warmly lyrical scene
that unfolds in series of
dreamlike, sometimes even
nostalgic visions, which
for me carry strong
memories of sitting on
rocks above surging
Atlantic waves. The third
movement, Wake, is a
fast, perpetual-motion
texture of glinting,
darting rhythms and
sudden shafts of light,
with a prominent part for
the steel drums, limning
the piano's quicksilver
figurations. An ecstatic
climax crashes into a
solo cadenza that grows
progressively calmer and
more introspective rather
than virtuosic. Much of
the tension finally
releases into Unclaimed
Waters, a drifting,
meditative seascape in
which the piano is
progressively engulfed by
a series of ever-taller
waves, ultimately
dissolving into a
tolling, rippling
continuum of sound.
It has been a great
privilege to realize such
a long-held dream as this
piece, and to write it
for not one, but two
great pianists.
Risto-Matti Marin and
Angela Hewitt, both of
whose friendship and
support have been
unfailing and humbling,
share the dedication.
Nameless Seas was
commissioned by the
PianoEspoo festival and
Canada's National Arts
Centre, with the
premieres in Ottawa and
Helsinki led by Hannu
Lintu and Olari Elts.
Thanks are due also to
the Jenny and Antti
Wihuri fund, whose
generous grant provided
me with much-needed time,
and Escape to Create in
Seaside, Florida, the
source to which I
returned to do a large
part of the work.