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.

By Various. Easy Piano Songbook (Easy arrangements for piano and voice). Softcover. Size 9x12 inches. 552 pages. Published by Hal Leonard.

Composed by Various. Traditional Pop, Broadway and Vocal Standards. Songbook (softcover). With vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. 576 pages. Published by Hal Leonard

Fake Book (Includes melody line and chords). Size 6.7x10.5 inches. 640 pages. Published by Hal Leonard.

C Edition. By Various. Fake Book (Includes melody line and chords). Size 9x11 inches. 352 pages. Published by Hal Leonard.

(Low Voice Edition). By Various. Fake Book. 352 pages. Published by Hal Leonard

Fake Book (Includes melody line and chords). Size 9x12 inches. 640 pages. Published by Hal Leonard.

Chamber Music String Quartet

SKU: PR.114405050

Composed by John Downey. Set of Score and Parts. With Standard notation. 53 pages. Duration 25 minutes. Theodore Presser Company #114-40505. Published by Theodore Presser Company (PR.114405050).

UPC: 680160008377. 11 x 14 inches.

Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique efffect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water , disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorlines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluch the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against the sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in spae. Here, the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement , two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue among the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of 'psycho-rhythmics contributes to an on-rush of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.

Chamber Music String Quartet

SKU: PR.11440505S

Composed by John Downey. Full score. With Standard notation. 53 pages. Duration 25 minutes. Theodore Presser Company #114-40505S. Published by Theodore Presser Company (PR.11440505S).

UPC: 680160008391. 11 x 14 inches.

Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique effect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water, disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorelines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluck the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in space. Here , the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement, two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue amont the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of psycho-rhythmics contributes to an on-rush seem of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.

A Kind of Miniatures / Panta Rhei. By Lutz Gerlach. For Piano. Solos. AMA Verlag. Contemporary. Level: Beginning-Intermediate. Book. Size 9x12. 144 pages. Published by AMA Verlag. ISBN 3899220102.

By Various Composers. Instrumental Folio. Size 9x12 inches. 146 pages. Published by Hal Leonard.

By Various. Creative Concepts Publishing. Size 9x12 inches. 192 pages. Published by Creative Concepts.

By Various Composers. Instrumental Folio. Size 9x12 inches. 146 pages. Published by Hal Leonard.

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

Compiled by Peter Wernick. For voice and guitar (or banjo). Format: fake book (simplified 3 string guitar tablature). With vocal melody (simplified 3 string guitar tablature), lyrics, chord names, performance notes, introductory text and black

By Various Composers. Instrumental Folio. Size 9x12 inches. 146 pages. Published by Hal Leonard.

By Various Composers. Instrumental Folio. Size 9x12 inches. 146 pages. Published by Hal Leonard.

SKU: GI.G-1095

Composed by James Jordan & The Same Stream. GIA ChoralWorks. Music Education. Choral score. GIA Publications #1095. Published by GIA Publications (GI.G-1095).

The Universe works in strange ways. Recorded almost three years ago, none of us could have known that when this recording was released the world would have lived through a life-altering pandemic or a tumultuous upheaval in the cultural awareness that now surrounds us. The work that opens this recording—with the words of Quaker George Fox that end with, “So be faithful, and live in that which doth not think the time long”—provid es a haunting premonition regarding the time in which we live, Quaker George Fox is strangely prophetic about these days and perhaps provides a future caution for us all. The music chosen for this recording is strangely and poignantly relevant, I believe, for each of us. “The Fruit of Silence” by Pēteris Vasks reminds us to visit those beliefs that are most sacred in the work by Cortlandt Matthews. A deeply personal Requiem by Peter Relph, in reflection, remembers the hundreds of thousands of lives lost in the pandemic. And then there is Thomas LaVoy’s “O Great Beyond.” All great texts are timeless and speak to the universality of the human condition. Particularly, the George Fox text set by Jackson Hill and the Tagore text set by LaVoy give us messages to reinforce the humanness of each of us for hope. Two other works on this recording poignantly remind us of the passing of life, with the Relph Requiem and especially the final movement of “O Great Beyond.” May these words give comfort to all those who endured the deepest of Life’s losses during our shared pandemic journey. For so many loved ones, goodbyes were said in silence, and alone. It is our hope that all the music on this CD will show us a way for living as we move forward and also give loving comfort to those who have lost loved ones. Peace, my heart, let the time for the parting be sweet. Let it not be a death but completeness. Let love melt into memory and pain into songs. Let the flight through the sky end in the folding of the wings over the nest. Let the last touch of your hands be gentle like the flower of the night. Stand still, O Beautiful End, for a moment, and say your last words in silence. I bow to you and hold up my lamp to light you on your way. —Rabindranath Tagore in The Gardener (1913).

By Various Composers. Instrumental Folio. Size 9x12 inches. 146 pages. Published by Hal Leonard.