Teacher (with Student
digital access) Choral
(TCH/SGR PDF)
SKU:
HL.118847
A
Musical About Friendship,
Tolerance and Change.
Composed by John Higgins
and John Jacobson.
ExpressiveArts.
Elementary, Musicals,
Secular. Softcover Media
Online. 56 pages.
Published by Hal Leonard
(HL.118847).
ISBN
9781480340442. UPC:
884088902421.
8.5x11.0x0.143 inches.
John Jacobson/John
Higgins.
The swamp
is all a-buzz with party
preparations galore!
Naturally, the turtles
are running late, and
Bully the Frog is being a
bully. The frogs have
learned a new dance they
want to share. The
tadpoles are growing
appendages (yikes!) and
the dragonfly larvae need
encouragement to spread
their wings and fly.
Lessons of friendship,
tolerance, courage to
face the future, and
more, abound! This
25-minute musical party
features five original
songs and easy-to-learn
rhyming dialog with over
40 speaking parts. The
ENHANCED Teacher Edition
with Singer PDFs includes
piano/vocal arrangements
with choreography,
helpful production guide
with staging and costume
suggestions, teaching
objectives linked to the
National Standards for
each song, PLUS
REPRODUCIBLE and
PROJECTABLE singer parts
available via DIGITAL
ACCESS. Also available:
Preview CD (with vocals
& dialog), Preview
Pak (1 Preview CD and
sample pages),
Performance/Accompaniment
CD, and a Classroom Kit
with Teacher/Singer and
AUDIO ACCESS for extra
value! Approximate
Performance Time: 20
minutes. Suggested for
grades K-3.
Choral (Preview CD) SKU: HL.118848 A Musical About Friendship, Toleran...(+)
Choral (Preview CD)
SKU: HL.118848
A Musical About
Friendship, Tolerance and
Change. Composed by
John Higgins and John
Jacobson. ExpressiveArts.
Elementary, Musicals,
Secular. CD only.
Published by Hal Leonard
(HL.118848).
ISBN
9781480340459. UPC:
884088902438. 5x5 inches.
John Jacobson/John
Higgins.
The swamp
is all a-buzz with party
preparations galore!
Naturally, the turtles
are running late, and
Bully the Frog is being a
bully. The frogs have
learned a new dance they
want to share. The
tadpoles are growing
appendages (yikes!) and
the dragonfly larvae need
encouragement to spread
their wings and fly.
Lessons of friendship,
tolerance, courage to
face the future, and
more, abound! This
25-minute musical party
features five original
songs and easy-to-learn
rhyming dialog with over
40 speaking parts. The
ENHANCED Teacher Edition
with Singer CD-ROM
includes piano/vocal
arrangements with
choreography, helpful
production guide with
staging and costume
suggestions, teaching
objectives linked to the
National Standards for
each song, PLUS
REPRODUCIBLE and
PROJECTABLE singer parts
on the enclosed CD-ROM.
Also available: Preview
CD (with vocals &
dialog), Preview Pak (1
Preview CD and sample
pages),
Performance/Accompaniment
CD, and a Classroom Kit
with Teacher/Singer and
Performance/Accompaniment
CD for extra value!
Approximate Performance
Time: 20 minutes.
Suggested for grades
K-3.
Smart PianoSoft. Performed by Judy Collins. Arranged by Steve Bach. Pianosoft Sy...(+)
Smart PianoSoft.
Performed by Judy
Collins. Arranged by
Steve Bach. Pianosoft
Sync (this is NOT sheet
music). Floppy disk. 4
pages. Published by
Yamaha.
Jazz Ensemble - Grade 4 SKU: KN.JDB2303FS Composed by Denis Diblasio. Jaz...(+)
Jazz Ensemble - Grade 4
SKU: KN.JDB2303FS
Composed by Denis
Diblasio. Jazz Ensemble
Series Grade 4 & Up. 7/4
Rock. Score Only. Kendor
Music Inc #JDB2303FS.
Published by Kendor Music
Inc (KN.JDB2303FS).
12
x 9 inches.
Denis
DiBlasio’s new
chart is a great vehicle
for introducing odd
meters to your band. The
driving even eighth note
groove with constant
quarter notes in the
rhythm section will make
the 7/4 feel natural in a
short amount of time.
Open solos over one scale
gives your soloists a
perfect chance to spread
their wings as well. A
great change up chart for
any program!
Don't Grow Up...It's a Trap Ensemble Jazz [Conducteur et Parties séparées] - Intermédiaire Kendor Music Inc.
Jazz Ensemble - Grade 4 SKU: KN.JDB2303 Composed by Denis Diblasio. Jazz ...(+)
Jazz Ensemble - Grade 4
SKU: KN.JDB2303
Composed by Denis
Diblasio. Jazz Ensemble
Series Grade 4 & Up. 7/4
Rock. Score and Parts.
Kendor Music Inc
#JDB2303. Published by
Kendor Music Inc
(KN.JDB2303).
12 x 9
inches.
Denis
DiBlasio’s new
chart is a great vehicle
for introducing odd
meters to your band. The
driving even eighth note
groove with constant
quarter notes in the
rhythm section will make
the 7/4 feel natural in a
short amount of time.
Open solos over one scale
gives your soloists a
perfect chance to spread
their wings as well. A
great change up chart for
any program!
Boy
Soprano, Soprano, Tenor,
Flugelhorn, Mixed Chorus,
and Chamber Orchestra
Study Score. Composed
by Harald Weiss. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. Composed
2008/2009. 188 pages.
Duration 100'. Schott
Music #ED20619. Published
by Schott Music
(HL.49018099).
ISBN
9790001158428. UPC:
884088567347.
8.25x11.75x0.457 inches.
Latin - German.
On
letting go(Concerning the
selection of the texts)
In the selection of the
texts, I have allowed
myself to be motivated
and inspired by the
concept of 'letting go'.
This appears to me to be
one of the essential
aspects of dying, but
also of life itself. We
humans cling far too
strongly to successful
achievements, whether
they have to do with
material or ideal values,
or relationships of all
kinds. We cannot and do
not want to let go,
almost as if our life
depended on it. As we
will have to practise the
art of letting go at the
latest during our hour of
death, perhaps we could
already make a start on
this while we are still
alive. Tagore describes
this farewell with very
simple but strikingly
vivid imagery: 'I will
return the key of my
door'. I have set this
text for tenor solo. Here
I imagine, and have
correspondingly noted in
a certain passage of the
score, that the
protagonist finds himself
as though 'in an ocean'
of voices in which he is
however not drowning, but
immersing himself in
complete relaxation. The
phenomenon of letting go
is described even more
simply and tersely in
Psalm 90, verse 12: 'So
teach us to number our
days, that we may apply
our hearts unto wisdom'.
This cannot be expressed
more plainly.I have begun
the requiem with a solo
boy's voice singing the
beginning of this psalm
on a single note, the
note A. This in effect
says it all. The work
comes full circle at the
culmination with a repeat
of the psalm which
subsequently leads into a
resplendent 'lux
aeterna'. The
intermediate texts of the
Requiem which highlight
the phenomenon of letting
go in the widest spectrum
of colours originate on
the one hand from the
Latin liturgy of the
Messa da Requiem (In
Paradisum, Libera me,
Requiem aeternam, Mors
stupebit) and on the
other hand from poems by
Joseph von Eichendorff,
Hermann Hesse,
Rabindranath Tagore and
Rainer Maria Rilke.All
texts have a distinctive
positive element in
common and view death as
being an organic process
within the great system
of the universe, for
example when Hermann
Hesse writes: 'Entreiss
dich, Seele, nun der
Zeit, entreiss dich
deinen Sorgen und mache
dich zum Flug bereit in
den ersehnten Morgen'
['Tear yourself way , o
soul, from time, tear
yourself away from your
sorrows and prepare
yourself to fly away into
the long-awaited
morning'] and later: 'Und
die Seele unbewacht will
in freien Flugen
schweben, um im
Zauberkreis der Nacht
tief und tausendfach zu
leben' ['And the
unfettered soul strives
to soar in free flight to
live in the magic sphere
of the night, deep and
thousandfold']. Or Joseph
von Eichendorff whose
text evokes a distant
song in his lines: 'Und
meine Seele spannte weit
ihre Flugel aus. Flog
durch die stillen Lande,
als floge sie nach Haus'
['And my soul spread its
wings wide. Flew through
the still country as if
homeward bound.']Here a
strong romantically
tinged occidental
resonance can be detected
which is however also
accompanied by a
universal spirit going
far beyond all cultures
and religions. In the
beginning was the sound
Long before any sort of
word or meaningful phrase
was uttered by vocal
chords, sounds,
vibrations and tones
already existed. This
brings us back to the
music. Both during my
years of study and at
subsequent periods, I had
been an active
participant in the world
of contemporary music,
both as percussionist and
also as conductor and
composer. My early scores
had a somewhat
adventurous appearance,
filled with an abundance
of small black dots: no
rhythm could be too
complicated, no register
too extreme and no
harmony too dissonant. I
devoted myself intensely
to the handling of
different parameters
which in serial music
coexist in total
equality: I also studied
aleatory principles and
so-called minimal music.I
subsequently emigrated
and took up residence in
Spain from where I
embarked on numerous
travels over the years to
India, Africa and South
America. I spent repeated
periods during this time
as a resident in
non-European countries.
This meant that the
currents of contemporary
music swept past me
vaguely and at a great
distance. What I instead
absorbed during this
period were other
completely new cultures
in which I attempted to
immerse myself as
intensively as possible.I
learned foreign languages
and came into contact
with musicians of all
classes and styles who
had a different cultural
heritage than my own: I
was intoxicated with the
diversity of artistic
potential.Nevertheless,
the further I distanced
myself from my own
Western musical heritage,
the more this returned
insistently in my
consciousness.The scene
can be imagined of
sitting somewhere in the
middle of the Brazilian
jungle surrounded by the
wailing of Indians and
out of the blue being
provided with the
opportunity to hear
Beethoven's late string
quartets: this can be a
heart-wrenching
experience, akin to an
identity crisis. This
type of experience can
also be described as
cathartic. Whatever the
circumstances, my
'renewed' occupation with
the 'old' country would
not permit me to return
to the point at which I
as an audacious young
student had maltreated
the musical parameters of
so-called contemporary
music. A completely
different approach would
be necessary: an
extremely careful
approach, inching my way
gradually back into the
Western world: an
approach which would
welcome tradition back
into the fold, attempt to
unfurl the petals and
gently infuse this
tradition with a breath
of contemporary
life.Although I am aware
that I will not unleash a
revolution or scandal
with this approach, I am
nevertheless confident
as, with the musical
vocabulary of this
Requiem, I am travelling
in an orbit in which no
ballast or complex
structures will be
transported or intimated:
on the contrary, I have
attempted to form the
message of the texts in
music with the naivety of
a 'homecomer'. Harald
WeissColonia de San
PedroMarch 2009.
Composed by Basque Carol.
Arranged by Christopher
Thomas. 12 pages.
Duration 2 minutes, 37
seconds. Carl Fischer
Music #CM9734. Published
by Carl Fischer Music
(CF.CM9734).
ISBN
9781491161142. UPC:
680160919734. Key: A
minor. English. Basque
Carol.
A Basque
Carol (also known as
Gabriel's Message) holds
a special place in
Western music. The carol
originates from Basque
country around the 13th
century, based on the
Latin hymn, Angelus ad
Virginem (likely of
Franciscan origin). The
tune quickly spread
throughout Europe,
finding popularity in
Britain where it was even
referenced in Chaucer's
Canterbury Tales: Playing
so sweetly that the
chamber rang; / and
Angelus ad virginem he
sang. . .. Interestingly,
the melody we know and
love today is derived
from the original Basque
version. In my view, this
tune is a perfect example
of melody-crafting. It is
at once hauntingly
beautiful, yet warm and
joyous. Its contours are
complex, dramatic, yet
singable. I believe this
melodic accessibility is
the key to the song's
lasting popularity. I
would also attribute A
Basque Carol's continued
popularity to its elegant
translation into English
(by Sabine Baring-Gould,
who rediscovered the
original Basque tune).
Translations often risk
sounding unimaginative,
coarse, and blunt. This
translation is strikingly
different. It was graced
with an especially poetic
translation including
lines such as his wings
as drifted snow, his eyes
as flame. I am very
excited to offer a new
perspective on this
classic carol, joining
the tradition of
composers preserving and
reimagining a priceless
medieval melody. My first
goal was to create a
flowing, richly-textured,
even cinematic string
accompaniment for the
choir. This approach was
very much inspired by the
dense, string-writing
style of English composer
Ralph Vaughan Williams.
My second goal was to
make the arrangement
flexible enough to be
performed with only
choir, only strings, or
(best of all) both
ensembles combined. To
further complement this
approach, I've added an
obligato line for a solo
recorder (solo flute or
violin work just as
well). If you listen
carefully, you will hear
a quote from my other
favorite holiday carol,
Jesu Bambino. I hope you
enjoy performing A Basque
Carol. I especially hope
that you sense the
ancient magic cast into
this tune, hearing the
ineffable qualities that
have compelled us to
sustain it for nearly a
millennium. Whether
you're a choir, a string
orchestra, or a combined
ensemble, this
arrangement of A Basque
Carol will surely be a
haunting and lovely
addition to your next
holiday program!. A
Basque Carol (also known
as Gabriel’s
Message) holds a special
place in Western music.
The carol originates from
Basque country around the
13th century, based on
the Latin hymn, Angelus
ad Virginem (likely of
Franciscan origin). The
tune quickly spread
throughout Europe,
finding popularity in
Britain where it was even
referenced in
Chaucer’s
Canterbury Tales:Â
“Playing so sweetly
that the chamber rang; /
and Angelus ad virginem
he sang. .
.â€.Interestingly,
the melody we know and
love today is derived
from the original Basque
version. In my view, this
tune is a perfect example
of melody-crafting. It is
at once hauntingly
beautiful, yet warm and
joyous. Its contours are
complex, dramatic, yet
singable. I believe this
melodic accessibility is
the key to the
song’s lasting
popularity. I would also
attribute A Basque
Carol’s continued
popularity to its elegant
translation into English
(by Sabine Baring-Gould,
who rediscovered the
original Basque tune).
Translations often risk
sounding unimaginative,
coarse, and blunt. This
translation is strikingly
different. It was graced
with an especially poetic
translation including
lines such as “his
wings as drifted snow,
his eyes as
flame.â€I am very
excited to offer a new
perspective on this
classic carol, joining
the tradition of
composers preserving and
reimagining a priceless
medieval melody. My first
goal was to create a
flowing, richly-textured,
even cinematic string
accompaniment for the
choir. This approach was
very much inspired by the
dense, string-writing
style of English composer
Ralph Vaughan Williams.
My second goal was to
make the arrangement
flexible enough to be
performed with only
choir, only strings, or
(best of all) both
ensembles combined. To
further complement this
approach, I’ve
added an obligato line
for a solo recorder (solo
flute or violin work just
as well). If you listen
carefully, you will hear
a quote from my other
favorite holiday carol,
Jesu Bambino.I hope you
enjoy performing A Basque
Carol. I especially hope
that you sense the
ancient magic cast into
this tune, hearing the
ineffable qualities that
have compelled us to
sustain it for nearly a
millennium. Whether
you’re a choir, a
string orchestra, or a
combined ensemble, this
arrangement of A Basque
Carol will surely be a
haunting and lovely
addition to your next
holiday program!
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe
SKU:
CF.WF229
15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229).
Ligne De Mélodie, Paroles et Accords [Fake Book] - Facile Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C
instrument. Format:
fakebook (spiral bound).
With vocal melody,
lyrics, piano
accompaniment, chord
names and leadsheet
notation. Hymn. Series:
Hal Leonard Fake Books.
494 pages. 9x12 inches.
Published by Hal Leonard.