(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(Words and Chords to
Nearly 1200 Songs 9x12
Spiral Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(Words and Chords to
Nearly 1200 Songs
Spiral-Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Traditional pop
and vocal standards.
Series: Hal Leonard Fake
Books. 424 pages. 9x12
inches. Published by Hal
Leonard.
Scott Joplin Reconsidered. Composed by Scott Joplin (1868-1917). Edited by L...(+)
Scott Joplin
Reconsidered.
Composed by Scott Joplin
(1868-1917). Edited by
Lara
Downes. Collection.
Theodore
Presser Company
#440-40028.
Published by Theodore
Presser
Company
by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels....(+)
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.
Edited by David Brody. For violin. Format: fake book. With lead melody, chord na...(+)
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.
The Reproaches Chorale SATB SATB A Cappella CanticaNOVA Publications
Composed by James Morrison. Text: The Roman Missal. Ritual music for Good Friday...(+)
Composed by James
Morrison. Text: The Roman
Missal. Ritual music for
Good Friday. Good Friday.
Octavo. Published by
CanticaNOVA Publications
(C5.3086-2).
By Keith Getty and Stuart Townend. Arranged by Jack Schrader. For SATB choir and...(+)
By Keith Getty and Stuart
Townend. Arranged by Jack
Schrader. For SATB choir
and piano accompaniment.
(SATB). Contemporary and
Sacred. Choral octavo. 12
pages. Published by Hope
Publishing Company.
By Larry Shackley. For SATB choir and piano accompaniment. Sacred Octavos. A lov...(+)
By Larry Shackley. For
SATB choir and piano
accompaniment. Sacred
Octavos. A lovely,
easily-learned anthem
based on Jeremiah 29 and
Philippians 1. Fitting
for general worship.
Octavo. Published by
Beckenhorst Press.
Guitar - Intermediate SKU: MB.WBM75M Saddle-stitched. Folk. Book and onli...(+)
Guitar - Intermediate
SKU: MB.WBM75M
Saddle-stitched. Folk.
Book and online audio.
Mel Bay Publications, Inc
#WBM75M. Published by Mel
Bay Publications, Inc
(MB.WBM75M).
ISBN
9781737795353. 8.75X11.75
inches.
This is a
collection of 86 guitar
solos in notation only
from William Bayâ??s
books, Solo Guitar in
Worship,
Communion,
Psalms,
Timeless Gospel
Melodies and
Spirituals. The
solos work well as
preludes, offertories,
communion hymns,
recessionals or they can
be played for
enjoyment. All 86
solos have been recorded
and are available as
online downloads with
this book.
Featuring 43 Fiddlers
and 188 of Their
Tunes. Perfect
binding. Folk. Book. 212
pages. Mel Bay
Publications, Inc #30091.
Published by Mel Bay
Publications, Inc
(MB.30091).
ISBN
9781513466378. 8.75 x
11.75
inches.
Appalachian
fiddle music, based on
the musical traditions of
the people who settled in
the mountainous regions
of the southeastern
United States, is
widely-known and played
throughout North America
and parts of Europe
because of its complex
rhythms, its catchy
melodies, and its
often-ancient-sounding
stylistic qualities. The
authors explore the lives
and music of 43 of the
classic Appalachian
fiddlers who were active
during the first half of
the 20th century. Some of
them were recorded
commercially in the
1920s, such as Gid
Tanner, Fiddlin? John
Carson, and Charlie
Bowman. Some were
recorded by folklorists
from the Library of
Congress, such as William
Stepp, Emmett Lundy, and
Marion Reece. Others were
recorded informally by
family members and
visitors, such as John
Salyer, Emma Lee
Dickerson, and Manco
Sneed. All of them played
throughout most of their
lives and influenced the
growth and stylistic
elements of fiddle music
in their regions. Each
fiddler has been given a
chapter with a biography,
several tune
transcriptions, and tune
histories. To show the
richness of the music,
the authors make a
special effort to show
the musical elements in
detail, but also
acknowledge that nothing
can take the place of
listening. Many of the
classic recordings used
in this book can be found
on the web, allowing you
to hear and read the
music together.
Jubilate Agno.
Composed by Z. Randall
Stroope. 16 pages.
Duration 0:03:05. Carl
Fischer Music #CM9735.
Published by Carl Fischer
Music (CF.CM9735).
ISBN 9781491161159.
UPC: 680160919741. Key: A
minor. Latin, English.
Christopher Smart and
ZRS.
Origins of the
Tarantella The tarantella
is a popular southern
Italian dance with
origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(little spider), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the poison, the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately courtship.
Origins of the Text
Christopher Smart
(1722-1771), also known
as Kit Smart or Jack
Smart, was born in Kent,
England and suffered from
what is now believed to
be acute asthma and other
health issues as a child.
As such, he did not work
in the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke's Hospital
for Lunatics, though this
was based on his mounting
debt, and not on
insanity. (Confinement,
or debtor's prison, was
common during this period
if one's debts could not
be paid.) During his
confinement, he worked on
two of his most famous
works, Jubilate Agno and
A Song of David. (Part of
Jubilate Agno [Rejoice in
the Lamb] was set to
music by English
composer, Benjamin
Britten.) Smart's writing
style (which, at times,
bordered on the absurd),
along with his many
obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of Smart's
Jubilate Agno were used
in mm. 24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance: theraphosa
[teh-rah-fo-sa] a genus
of tarantula spiders
bellicose
[beh-lee-ko-sah] hostile;
aggressive odiosa
[o-dee-o-sa] hateful;
vexation tenebrosa
[teh-neh-bro-sa]
creeping; dark nemorosa
[neh-mo-ro-sa] wooded;
shady lapidosa
[lah-pee-do-sa] stony
area; gritty The
convergence, then, of the
medieval tarantella
(spider dance), the
writings of a brilliant
poet who bordered on the
absurd, and the infusion
of strong, descriptive
and otherwise random,
rhyming words,
synthesizes to make
dramatic lyrics for this
work. About the Composer
Z. Randall Stroope is an
American composer and
conductor. He has served
as Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico. Performance Notes
Text: In Latin, the r is
flipped; use s instead of
z on endings such as
phosa, cosa, and so on;
the Latin o is a cross
between oh and aw; in the
transliteration above, I
chose to simply use an o
for consistency. The
director will blend the
oh and aw in the
rehearsals to his/her own
preference. Lastly,
tarantula is pronounced
tah-rah-n-too-lah (avoid
teh-ran-choo-luh) within
the confines of this
text. Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. The
tarantella is a popular
southern Italian dance
with origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(“little
spiderâ€), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the
“poison,†the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately
courtship.Christopher
Smart (1722-1771), also
known as “Kit
Smart†or
“Jack Smart,â€
was born in Kent, England
and suffered from what is
now believed to be acute
asthma and other health
issues as a child. As
such, he did not work in
the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke’s
Hospital for Lunatics,
though this was based on
his mounting debt, and
not on insanity.
(Confinement, or
debtor’s prison,
was common during this
period if one’s
debts could not be paid.)
During his confinement,
he worked on two of his
most famous works,
Jubilate Agno and A Song
of David. (Part of
Jubilate Agno
[“Rejoice in the
Lambâ€] was set to
music by English
composer, Benjamin
Britten.) Smart’s
writing style (which, at
times, bordered on the
absurd), along with his
many obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of
Smart’s Jubilate
Agno were used in mm.
24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance:The convergence,
then, of the medieval
tarantella (spider
dance), the writings of a
brilliant poet who
bordered on the absurd,
and the infusion of
strong, descriptive and
otherwise random, rhyming
words, synthesizes to
make dramatic lyrics for
this work.Z. Randall
Stroope is an American
composer and conductor.
He has served as
Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico. In Latin, the
“r†is
flipped; use
“s†instead
of “z†on
endings such as
“phosa,â€
“cosa,†and
so on; the Latin
“o†is a
cross between
“oh†and
“awâ€; in the
transliteration above, I
chose to simply use an
“o†for
consistency. The director
will blend the
“oh†and
“aw†in the
rehearsals to his/her own
preference. Lastly,
“tarantulaâ€
is pronounced
“tah-rah-n-too-lah
€ (avoid
“teh-ran-choo-luhâ
€) within the
confines of this
text.Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. The
tarantella is a popular
southern Italian dance
with origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(“little
spiderâ€), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the
“poison,†the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately
courtship.Christopher
Smart (1722-1771), also
known as “Kit
Smart†or
“Jack Smart,â€
was born in Kent, England
and suffered from what is
now believed to be acute
asthma and other health
issues as a child. As
such, he did not work in
the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke’s
Hospital for Lunatics,
though this was based on
his mounting debt, and
not on insanity.
(Confinement, or
debtor’s prison,
was common during this
period if one’s
debts could not be paid.)
During his confinement,
he worked on two of his
most famous works,
Jubilate Agno and A Song
of David. (Part of
Jubilate Agno
[“Rejoice in the
Lambâ€] was set to
music by English
composer, Benjamin
Britten.) Smart’s
writing style (which, at
times, bordered on the
absurd), along with his
many obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of
Smart’s Jubilate
Agno were used in mm.
24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance:The convergence,
then, of the medieval
tarantella (spider
dance), the writings of a
brilliant poet who
bordered on the absurd,
and the infusion of
strong, descriptive and
otherwise random, rhyming
words, synthesizes to
make dramatic lyrics for
this work.Z. Randall
Stroope is an American
composer and conductor.
He has served as
Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico.In Latin, the
“r†is
flipped; use
“s†instead
of “z†on
endings such as
“phosa,â€
“cosa,†and
so on; the Latin
“o†is a
cross between
“oh†and
“awâ€; in the
transliteration above, I
chose to simply use an
“o†for
consistency. The director
will blend the
“oh†and
“aw†in the
rehearsals to his/her own
preference. Lastly,
“tarantulaâ€
is pronounced
“tah-rah-n-too-lah
€ (avoid
“teh-ran-choo-luhâ
€) within the
confines of this
text.Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano.
String Quartet No.
3. Composed by
Shulamit Ran. Sws.
Contemporary. Full score.
With Standard notation.
Composed March 9 2013. 32
pages. Duration 23
minutes. Theodore Presser
Company #114-41690S.
Published by Theodore
Presser Company
(PR.11441690S).
UPC:
680160626021. 9 x 12
inches.
Ran's third
string quartet was
written for the Pacifica
Quartet, who are
featuring it in numerous
performances from May
2014 through February
2016, across the country
and abroad. Their blog
page dedicated to the
work also features the
composer's notes, for
more indepth insight.
...impassioned solos
emerge from ominous
quiet, and high arpeggios
in the violins quiver
alongside the earthy
cello. Ms. Ran skillfully
deploys these extremes of
color, volume and pitch,
yet the overall somewhat
chilly impression is one
of poise. -- Zachary
Woolfe, The New York
Times. My third string
quartet was composed at
the invitation of the
Pacifica
Quartet, whose
music-making I have come
to know closely and
admire hugely as resident
artists at the University
of Chicago. Already
in our early
conversations Pacifica
proposed that this
quartet might, in some
manner, refer to the
visual arts as a point of
germination. Probing
further, I found out that
the quartet members had
special interest in art
created during the
earlier part of the 20th
century, perhaps between
the two world wars.Â
It was my good fortune to
have met, a short while
later, while in residence
at the American Academy
in Rome in the fall of
2011, art conservationist
Albert Albano who steered
me to the work of Felix
Nussbaum (1904-1944), a
German-Jewish painter
who, like so many others,
perished in the Holocaust
at a young age, and who
left some powerful,
deeply moving art that
spoke to the life that
was unraveling around
him. The title of my
string quartet takes its
inspiration from a major
exhibit devoted to art by
German artists of the
period of the Weimar
Republic (1919-1933)
titled “Glitter and
Doom: German Portraits
from the 1920sâ€,
first shown at New
York’s
Metropolitan Museum of
Art in 2006-07.Â
Nussbaum would have been
a bit too young to be
included in this
exhibit. His most
noteworthy art was
created in the last very
few years of his short
life. The
exhibit’s
evocative title, however,
suggested to me the idea
of “Glitter, Doom,
Shards, Memory†as
a way of framing a
possible musical
composition that would be
an homage to his life and
art, and to that of so
many others like him
during that era.
 Knowing that their
days were numbered, yet
intent on leaving a mark,
a legacy, a memory, their
art is triumph of the
human spirit over
annihilation. Parallel
to my wish to compose a
string quartet that,
typically for this genre,
would exist as
“pure musicâ€,
independent of a
narrative, was my desire
to effect an awareness in
my listener of matters
which are, to me, of
great human concern.
 To my mind there is
no contradiction between
the two goals. Â As in
several other works
composed since 1969, this
is my way of saying
‘do not
forget’, something
that, I believe, can be
done through music with
special power and
poignancy. Â Â The
individual titles of the
quartet’s four
movements give an
indication of some of the
emotional strands this
work explores. 1)
“That which
happened†(das was
geschah) – is how
the poet Paul Celan
referred to the Shoah
– the Holocaust.
 These simple words
served for me, in the
first movement, as a
metaphor for the way in
which an
“ordinaryâ€
life, with its daily flow
and its sense of sweet
normalcy, was shockingly,
inhumanely, inexplicably
shattered. 2)
“Menace†is a
shorter movement,
mimicking a Scherzo.
 It is also
machine-like, incessant,
with an occasional,
recurring, waltz-like
little tune –
perhaps the chilling
grimace we recognize from
the executioner’s
guillotine mask. Â Like
the death machine it
alludes to, it gathers
momentum as it goes, and
is
unstoppable. 3) â
If I must perish - do
not let my paintings
dieâ€; these words
are by Felix Nussbaum
who, knowing what was
ahead, nonetheless
continued painting till
his death in Auschwitz in
1944. Â If the heart of
the first movement is the
shuddering interruption
of life as we know it,
the third movement tries
to capture something of
what I can only imagine
to be the conflicting
states of mind that would
have made it possible,
and essential, to
continue to live and
practice one’s art
– bearing witness
to the events.
 Creating must have
been, for Nussbaum and
for so many others, a way
of maintaining sanity,
both a struggle and a
catharsis – an act
of defiance and salvation
all at the same
time. 4)
“Shards,
Memory†is a direct
reference to my
quartet’s title.
 Only shards are left.
 And memory.  The
memory is of things large
and small, of unspeakable
tragedy, but also of the
song and the dance, the
smile, the hopes. All
things human. Â As we
remember, in the face of
death’s silence,
we restore dignity to
those who are
gone.—Shulamit
Ran .