Composed by Joseph M. Martin. Shawnee Sacred. General Worship, Sacred. Octavo. 12 pages. Published by Shawnee Press

Piano Vocal (Arranged for piano and voice with guitar chords). Size 9x12 inches. 4 pages. Published by Hal Leonard.

Arranged by Graham Sheen. For Bassoon and Piano. Book; Method/Instruction; Woodwind - Bassoon Method or Collection. Faber Edition: Going Solo. Published by Faber Music

By The White Stripes. By Jack White. Arranged by Mac Huff. Pop Choral Series. Pop, Rock. Octavo. Duration 135 seconds. Published by Hal Leonard

(Sometimes I Feel Like a Motherless Child, Going Home). Arranged by Ruth Elaine Schram. For 3-part mixed choir (optional Baritone), with accompaniment. Spiritual. Choral octavo. Duration 3:37

Pop Specials for Strings - Grade 3-4. By Marvin Gaye. Arranged by Robert Longfield. Pop Specials for Strings. RandB. Softcover. Published by Hal Leonard

Piano

SKU: BT.MUSM570202690

Composed by Glyn Perrin. Book Only. 4 pages. University of York Music Press #MUSM570202690. Published by University of York Music Press (BT.MUSM570202690).

English.

For Piano. Published 1981. First performance: Michael Finnissy, British Music Information Centre, 1981. Score.

By Marvin Gaye. Single for voice, piano and guitar chords. E Major. 7 pages. Published by Hal Leonard.

By George Gershwin. Edited by Pete Barenbregge. Arranged by Dave Wolpe. Jazz ensemble. Published by Warner Brothers.

For voice. Choral/Vocal. Published by Alfred Publishing. (22019) The premiere vocal collection in Alfred's Distinguished Performer Series, this beautiful edition of four of the most beloved titles in American song is sure to please any audience. Vocalists and teachers alike will find that noted pianist and composer Alan Smith has created exquisite melodic line for the voice, perfectly complimented by the viola and piano. Titles include: I Know Where I'm Going, Early One Morning, I Once Loved a Boy, and Oh, Johnny! 24 pages with 8 page viola part insert.

For Trombone and Piano. Arranged by Alan Gout. Brass, Repertoire, Collections. Going Solo. Softcover Book. 56 pages. Faber Music #F0571514278. Published by Faber Music

Choir

SKU: GI.G-6051

Composed by Carol Browning. Sacred. Collection. GIA Publications #6051. Published by GIA Publications (GI.G-6051).

English, Latin.

Her octavos have been featured in our Choral Subscription Series and in numerous reading sessions. Now, Carol Browning's original compositions are available on CD and cassette! Great for contemporary ensemble, Carol's catchy refrains spark natural assembly participation. The spirited Give Thanks to the Lord, based on Psalm107, is energetic and fun, while O Lord, the Guardian of My Heart offers a prayer of quiet strength. With Grateful Hearts is ideal for Thanksgiving celebrations. But perhaps the best and brightest of this great collection is Ubi Caritas, a stunningly beautiful version of the classic chant text with music and verse texts by Browning. This recording is simply a great new way to become familiar with the works of this rising new composer. Contains one each of the following octavos: Give Thanks to the Lord - Sing a New Song - O Lord, the Guardian of My Life - I Come to You, O God - Benediction - With Grateful Hearts - Fill Us with Your Love, O Lord - God of Our Comings and Goings - Jesus, Lamb of God - If Jesus Wept - Ubi Caritas - Alleluia, Christ Is Risen.

by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels. Book. Solos. Size 8.75x11.75. 268 pages. Published by Mel Bay Pub., Inc.

Fakebook (spiral bound) for voice and C instrument. With vocal melody, lyrics, chord names and leadsheet notation. Series: Hal Leonard Fake Books. 407 pages. Published by Hal Leonard.

Fake Book (Includes melody line and chords). Size 9x12 inches. 568 pages. Published by Hal Leonard.

Voice and Piano. By Richard Johnston. (resource book). Vocal Collection. Size 8.5x11 inches. 400 pages. Published by E.c. Kerby.

Performance/Accompaniment & Split-Track CD

SKU: HP.C6238C

Composed by Traditional Spiritual and Walter Hawkins. Arranged by Mary McDonald. Choral Performance/Accompaniment CDs. Hope Publishing Company #C6238C. Published by Hope Publishing Company (HP.C6238C).

UPC: 763628962388. Walter Hawkins; Traditional Spiritual.

Traditio nal Spiritual by Walter Hawkins Combining Walter Hawkins' 'Goin' Up Yonder' with the traditional spiritual 'Going Home,' this is an easy-going ballad about going home to be with our Lord. The intensity builds throughout with the urgency and longing to see the Savior's face up yonder, making this useful for many occasions dealing with heaven and eternal life.

Edited by David Brody. For violin. Format: fake book. With lead melody, chord names, instructional text and performance notes. Folk, americana and british. 302 pages. 9x12 inches. Published by Oak Publications.

By Wayne Erbsen. For All Instruments. SongBook. Gospel-Old Time. Level: Beginning. Book. Size 9x12. 172 pages. Published by Native Ground Music.

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

Chamber Music Violin

SKU: CF.BF131

Composed by Roland Vamos. With Standard notation. 168 pages. Carl Fischer Music #BF131. Published by Carl Fischer Music (CF.BF131).

ISBN 9781491153765. UPC: 680160911264. 9 x 12 inches.

Inspired by Clarence Cameron White’s book The Violinist’s Daily Dozen, The Violinist’s Daily Sixteen is a collection of daily exercises compiled by Roland Vamos. Intended for student and professional violinists, the collection provides the performer with a variety of exercises for daily warm-ups. Mr. Vamos also focuses on developing dexterity and flexibility in the fingers and joints, the first and fourth fingers in particular. Each of the sixteen exercises is notated for each of the four strings, and Vamos recommends that the exercises be practiced as warm-ups, choosing a different string for each day of practice.Also included with the Daily Sixteen is a comprehensive set of studies for developing fluency with scales and arpeggios. Mr. Vamos’ unique methodology is to begin with major scales and arpeggios, followed by minor scales and arpeggios, all of which are notated in two, three and four octaves. Alternate fingers are provided, as well as a variety of slurred and mixed bowings using the three parts of the bow whenever feasible. It is a remarkably systematic approach to performing scales and arpeggios on the violin and will surely benefit students and professionals alike.
ForewordThis short hand-setting set of exercises was inspired by a book entitled The Violinist’s Daily Dozen, conceived by Clarence Cameron White, a prominent African-American violinist, composer and arranger who enjoyed the bulk of his career in the first half of the twentieth century.I have practiced this set of exercises since I was twelve years old. It has served me as a superb warm-up and hand setting tool. Over the years, I have found that there are some aspects of this warm-up routine that were not given sufficient attention or not addressed at all. Consequently, I have expanded the Daily Dozen to create a new work entitled The Violinist’s Daily Sixteen.I have also paid particular attention in this work as to how these exercises are to be practiced. In exercises one and two, I have indicated some notes to be played before the actual written exercises. This is to ensure that the fourth finger will be over the string in a position ready to strike even though it is not being used. Before playing exercises three, four, nine, ten, eleven and twelve, I have indicated silent fingers to be placed on the notes they would be playing if they were being used.I have replaced Mr. White’s grace notes with notes of specific value and have slowed down the exercises so that the first joint (the joint nearest the string) of each finger can move with flexibility and strength. At no time should the first joint buckle.In Mr. White’s version, the last exercise gave the first finger some very valuable backward extensions. In this exercise (number 14 in this book), I caution the student not to move the hand along with the first finger. The hand should remain in position while the first finger independently moves back and forth.It became obvious to me that if the first finger were given the opportunity to develop the dexterity that Mr. White’s twelfth exercise emphasizes, the fourth finger could benefit from an exercise that gives it a forward extension. Consequently, I added another exercise to create a Baker’s Dozen (thirteen).Several years later, I felt that the second and third fingers should also have an exercise to further develop their dexterity…hence exercise fourteen was added to create a “Vamos Dozen.”Because the first finger did not have sufficient practice in the development of the first joint in the original version, I have added two exercises to precede White’s fifth exercise. After re-working and re-numbering these exercises, I have come up with a total of sixteen exercises. It is my suggestion that these be practiced as a warm-up, choosing a different string each day.—Roland VamosEvanston, Illinois 2017 PrefaceScales are a means of teaching a person the fingerboard on his or her instrument. The fingers move across the strings and are required to make shifts, all in highly organized patterns. Scales and arpeggios are the foundation upon which our repertoire is built. Many scale books have been written; each one being organized in its own specific way. The Flesch Scale System has been a standard for many decades. It is very comprehensive and systematic. From the point of view of establishing similar patterns, it has one drawback: it is organized by starting with a major key, followed by its relative minor, going through the circle of fifths. I believe that it is more profitable to do only major scales with their arpeggios first, going up chromatically, and then follow them in a similar way with the minor scales. In using this approach, the similarities in fingerings between the various scales are more apparent. It is also profitable to have alternate fingerings whenever possible. My approach to scales and arpeggios includes a variety of slurred and mixed bowings using the three parts of the bow whenever feasible. These bowings are not all-inclusive. Whenever a particularly awkward bowing pattern is encountered in the repertoire, it can be practiced as an additional bowing variation in the scales and arpeggios.    I have chosen to introduce the three and four octave scales by teaching two octave scales across the strings in one position going up chromatically through seven positions; starting on the first, second, third, and finally fourth fingers in major and melodic minor.—Roland VamosEvanston, Illinois 2017.