For Autoharp, Guitar, Ukulele, Mandolin, Banjo, and Keyboard. Compiled by Meg Peterson. For Autoharp/Chromaharp. Songbook. Sacred. Level: Beginning. Book. Size 8.5x11. 40 pages. Published by Mel Bay Publications, Inc.

Arranged by Dan Coates. For Piano. Book; Piano Collection; Piano Supplemental. Dan Coates Popular Piano Library. Form: Medley. Pop. Intermediate; Late Intermediate. 56 pages. Published by Alfred Music

Paperback Lyrics. By Various. Paperback Lyrics. Softcover. Size 4.25x6.75 inches. 256 pages. Published by Hal Leonard.

Fakebook for Eb instruments. Series: Just Real Books Series, Fake Book. 408 pages. Published by Alfred Publishing.

For voice and guitar. Format: easy guitar/vocal songbook. With leadsheet notation (chords and melody), lyrics, strum and pick patterns and chord names. Gospel. 128 pages. 9x12 inches. Published by Hal Leonard.

Piano Solo with Beautiful Piano Sounds. Composed by Various. J-Pop. J-Pop, Traditional Japanese Song, Kayo, Enka. Book. Yamaha Music Media #GTP01100241. Published by Yamaha Music Media

Paperback Lyrics. By Various. Paperback Lyrics. Softcover. 256 pages. Published by Hal Leonard.

By Amy Appleby. For Piano. Classical. Sheet Music. 192 pages. Published by Music Sales.

By James Bastien. (Older Beginner Organ Lbry). Bastien Piano. Solo Collections. Level: Level 1. Music Book. Size 232. Published by Neil A. Kjos Music Company.

For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. Gospel. 272 pages. 9x12 inches. Published by Hal Leonard.

Over 100 Songs in the Key of C. By Various. Fake Book (Includes melody line and chords). Size 9x12 inches. 157 pages. Published by Hal Leonard.

For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. Gospel. 216 pages. 9x12 inches. Published by Hal Leonard.

Fake Book (Includes melody line and chords). Size 9x12 inches. 152 pages. Published by Hal Leonard.

By Hal Hopson / Various authors. For Unison choir. Devotion, Hymntune, Sacred. Hymn Collection. Author's Collections. 114 pages

By Carl Strommen. For Choir. (SATB). Choral Octavo. Level: Level 4 (grade L4). Choral Octavo. 12 pages. Published by Alfred Publishing.

By Carl Strommen. For Choir. (SSA). Choral Octavo. Choral Designs. Choral Octavo. 12 pages. Published by Alfred Publishing.

By Carl Strommen. For Choir. (2-Part). Choral Octavo. Level: Level 2 (grade L2). Choral Octavo. 12 pages. Published by Alfred Publishing.

By Carl Strommen. For Choir. (SAB). Choral Octavo. Choral Designs. Choral Octavo. 12 pages. Published by Alfred Publishing.

For Piano. Classical, Folk, Holiday. Sheet Music. 240 pages. Published by Music Sales.

(Who Will Give Me Wings). By D. Shimoni. Arranged by Audrey Snyder. (2 part). Choral. Festival. Size 6.7x10.5 inches. 12 pages. Published by Hal Leonard.

(Who Will Give Me Wings). By D. Shimoni. Arranged by Audrey Snyder. (SATB). Choral. Festival. 12 pages. Published by Hal Leonard.

(Who Will Give Me Wings). By D. Shimoni. Arranged by Audrey Snyder. (SAB). Choral. Festival. Size 6.7x10.5 inches. 12 pages. Published by Hal Leonard.

Fake book for voice and C instrument. With vocal melody, lyrics, chord names and guitar chord diagrams. Series: Hal Leonard Paperback Songs. 255 pages. Published by Hal Leonard.

Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Piccolo, Snare Drum and more. - Grade 3

SKU: CF.CPS244F

Composed by Michael Boo. Sws. Cps. Full score. 20 pages. Duration 3 minutes, 16 seconds. Carl Fischer Music #CPS244F. Published by Carl Fischer Music (CF.CPS244F).

ISBN 9781491157992. UPC: 680160916597. 9 x 12 inches.

On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft. Donat be concerned if you donat have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isnat essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isnat critical if you do have those other low woodwinds. The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred. When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39. In the slower section after m. 41, be careful that the diminuendos on the half notes donat sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows. The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.
On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft. Don't be concerned if you don't have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isn't essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isn't critical if you do have those other low woodwinds. The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred. When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39. In the slower section after m. 41, be careful that the diminuendos on the half notes don't sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows. The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.
On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft.Don’t be concerned if you don’t have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isn’t essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isn’t critical if you do have those other low woodwinds.The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred.When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39.In the slower section after m. 41, be careful that the diminuendos on the half notes don’t sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows.The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.

Edited by Carol Cuellar. Piano/Vocal songbook (Piano/Vocal/Chords. Arrangements for piano and voice with guitar chords). 404 pages. Published by Alfred Publishing