(C Edition). By Various. For voice and C instrument. Hal Leonard Fake Books. Pop Vocal and Vocal Standards. Difficulty: easy-medium. Fakebook. Vocal melody, lyrics and chord names. 396 pages. Published by Hal Leonard fakebook Pop Vocal and Vocal Standards

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (Study Score)

SKU: HL.49018099

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.

Choir

SKU: HP.1755

Composed by Carl P. Daw, Jr. This edition: Complete. Author Collections. General Worship, Sacred. Hymn Collection. 128 pages. Hope Publishing Company #1755. Published by Hope Publishing Company (HP.1755).

UPC: 763628117559.

As the title indicates, there are 13 new hymn texts based on Psalms, 12 as hymns and 24 as new spiritual songs. All are set to tunes ancient and modern, and all have been written since the publication of A Year of Grace (1990) and To Sing God's Praise (1992).

(from Jekyll and Hyde). By Leslie Bricusse, Frank Wildhorn. Arranged by Mac Huff. (SATB). Choral. 8 pages. Published by Cherry Lane Music.

Composed by Grey E. Larsen. Saddle-stitched. First Lessons. Folk. Book and online audio/video/pdf. 40 pages. Mel Bay Publications, Inc #30043M. Published by Mel Bay Publications, Inc

Choral (ShowTrax CD)

SKU: HL.302319

Composed by Bernie Taupin and Elton John. Arranged by Mac Huff. Pop Choral Series. Collection, Medley, Movies, Pop, Pop/Rock, Rock. CD. Duration 635 seconds. Published by Hal Leonard (HL.302319).

UPC: 888680966935. 5.0x5.0x0.185 inches.

Elton John ruled the pop charts in the 1970s--and moviegoing audiences in 2019 finally got a chance to see why. The rave-reviewed biopic Rocketman chronicled John's fruitful songwriting partnership with lyricist Bernie Taupin, with the movie letting their seemingly never-ending catalog of classics speak (or sing) for themselves. Includes: Rocket Man, Bennie and the Jets, Your Song, Crocodile Rock and Don't Let the Sun Go Down on Me.

Piano

SKU: HL.14010480

Piano Solo. Composed by Per Norgard. Music Sales America. Classical. Book [Softcover]. 7 pages. Music Sales #KP00717. Published by Music Sales (HL.14010480).

ISBN 9788759870082. Danish.

Esperanza - Eremitkrebs-Tango (1997) Hermit Crab Tango, Esperanza is part of Norgard's Animals in Concert, a suite of piano pieces, so far comprised of:  1. A Tortoise's Tango (1984) - dur.: 4'  2. Light of a Night - Paul meets bird (1989) - dur.: 6'  3. Hermit Crab Tango - Esperanza (1997) - dur.: 5'  The pieces can be performed together or one by one.  In the1980s, quite a few “finds” turned up in Per Norgard's music. The material could be, say, a number of song birds' equilibrist melodic lines, the overtones of the ocean surf, or waltzing themes by the schizophrenic artist Adolf Wolfli (1864-1930). Or again, as heard here, it can be the rhythms and motifs of the tango and a Beatles song (with bird), explored in three independent piano pieces that form the Animals in Concert suite, about which the composer writes:  Programme note for Animals in Concert:  1. A Tortoise's Tango (1984) - dur.: 4'  2. Light of a Night - Paul meets bird (1989) - dur.: 6'  3. Hermit Crab Tango - Esperanza (1997) - dur.: 5'  The pieces can be performed together or one by one.  In the1980s, quite a few “finds” turned up in Per Norgard's music. The material could be, say, a number of song birds' equilibrist melodic lines, the overtones of the ocean surf, or waltzing themes by the schizophrenic artist Adolf Wolfli (1864-1930). Or again, as heard here, it can be the rhythms and motifs of the tango and a Beatles song (with bird), explored in three independent piano pieces that form the Animals in Concert suite, about which the composer writes:  “A Tortoise's Tango”: The tortoise as tango dancer must presumably possess certain rhythmic peculiarities, which I have chosen to express by letting the tune of the tortoise shuffle broadly, tripartite through the strict four partite time of tango.  Tortoise Tango was the original title of this piece, “written for Achilles” (the pianist Yvar Mikhashoff), for his so called tango project”, including new tangos for piano by composers from all over the world.  “Light of a Night (Paul meets bird)” was commissioned by pianist Aki Takahashi. It is a “reworked” arrangement for piano of the Beatles song ”Blackbird”. As some of us will recall, the Beatles on “The White Album” let the beautiful song to the blackbird be accompanied by an (apparently) live blackbird song. It is this authentic bird-motif world that in “Light of a Night” weaves itself into the Beatles melody and in turn is gradually infected by it, so that a completely new third entity ensues: a kind of Bird-rock ballad (or maybe it is a Beatle-bird?).  “Hermit Crab Tango (Esperanza)”: The tango situation is quite special for a Hermit Crab. It is a well-known fact that the hermit crab - this soft animal - must run the gauntlet among the many perils at the bottom of the sea when it must move hose. I have chosen to express the angers by a.

Guitar Chord Songbook (6 inch. X 9 inch.). By Paul McCartney. Guitar Chord Songbook. Softcover. 152 pages. Published by Hal Leonard.

Lyrics by Leslie Bricusse, music by Frank Wildhorn. For voice and piano. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics, chord names and introductory text. Broadway. 80 pages. 9x12 inches. Published by Cherry Lane Music.

By Megadeth. Guitar Recorded Version. Softcover. Guitar tablature. 128 pages. Published by Hal Leonard

Folk Harp; Harp

SKU: HL.131541

Arranged for Harp. By A. Great Big World. Arranged by Sylvia Woods. Harp. Pop. Softcover. 4 pages. Published by Hal Leonard (HL.131541).

ISBN 9780936661667. UPC: 888680025564. 8.5x11.0x0.031 inches.

Say Something is an original song by the American duo A Great Big World. The lyrics are about letting go when a relationship ends. It became an international hit when Christina Aguilera joined A Great Big World on a re-recorded version in 2013. Sylvia Woods has made a 4-page advanced beginner to intermediate arrangement, playable on either lever or pedal harp. This music features a pedal point (also called a pedal note or pedal tone), which is a sustained or continually repeated note that is held constant while harmonies change in other parts. A pedal point is usually found in the bass, but here it is in the middle register. Virtually every measure includes a middle C note on the downbeat. Sometimes it is played with the right hand, and at other times with the left. But it is almost always there. This pedal point harmony is what originally drew me into this beautiful piece of music the first time I heard it on the radio. The music is in the key of C, and no sharping levers are required, as there are no lever changes. Fingerings, lyrics and chord symbols are included. The harp range required is 24 strings from a low C up to an E. It can be played on 24-string to 26-string harps with a C as the lowest string if you play both hands an octave higher than written.

By Gwyneth W. Walker. Text: Jelaluddin Rumi, translated by C. Barks. For High voice and piano. Vocal Music. Published by E.C. Schirmer Publishing.

(2013 Revival). By Frank Wildhorn and Leslie Bricusse. For Piano/Keyboard, Vocal, Piano/Vocal/Guitar. Vocal Selections. Softcover. 104 pages. Published by Hal Leonard

From The Unofficial Bridgerton Musical. Composed by Abigail Barlow and Emily Bear. Arranged by Mac Huff. Pop Choral Series. Ballad, Musicals, Pop, Tv. Octavo. 8 pages. Duration 140 seconds. Published by Hal Leonard

From The Unofficial Bridgerton Musical. Composed by Abigail Barlow and Emily Bear. Arranged by Mac Huff. Pop Choral Series. Ballad, Musicals, Pop, Tv. Octavo. 8 pages. Duration 140 seconds. Published by Hal Leonard

From The Unofficial Bridgerton Musical. Composed by Abigail Barlow and Emily Bear. Arranged by Mac Huff. Pop Choral Series. Ballad, Musicals, Pop, Tv. Octavo. 8 pages. Duration 140 seconds. Published by Hal Leonard

15 Gentle Arrangements by Phillip Keveren. Composed by Various. Arranged by Phillip Keveren. Piano Solo Songbook. Children, Lullaby. Softcover. 40 pages. Published by Hal Leonard

Piano

SKU: FG.55011-542-2

Composed by Kirmo Lintinen. Fennica Gehrman #55011-542-2. Published by Fennica Gehrman (FG.55011-542-2).

ISBN 9790550115422.

In his work Palindrome for piano (2000), Kirmo Lintinen has chosen a predetermined form: perfectly mirrored symmetry, and he makes it work wonderfully! Lintinen is not interested in hidden structures and working with minutiae, but rather lets the palindromic qualities of the palindrome be clearly visible and audible. Rather than using abstract tonerows, Lintinen mirrors a three-tiered musical characteristics, adding and then letting go suspension: Cantabile semplice/Giocoso/Fuocoso e flessibile - Fuocoso e flessibile/Giocoso/Cantab ile semplice. The duration of the work, 180 seconds, is divided into six segments: 45sec:30sec:15sec:15sec:3 0sec:45sec (3:2:1:1:2:3). The shorter the segment, the more raucuous the material.

By Celtic Woman. By David Downes. Arranged by Cristi Cary Miller. Pop Choral Series. Celtic, Concert, Female Voices, Festival. Octavo. 20 pages. Published by Hal Leonard