For voice and piano. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics, chord names, basic guitar chords chart (diagrams), illustrations and introductory text. Folk. 352 pages. 9x12 inches. Published by Hal Leonard.

Fake Book (Includes melody line and chords). Size 9x12 inches. 568 pages. Published by Hal Leonard.

The Best Step-by-Step Guide to Start Playing. Do It Yourself. Instruction, Method. Softcover Media Online. 128 pages. Published by Hal Leonard

100 Timeless Songs to Learn and Play. Edited by Happy Traum. Homespun Tapes. Bluegrass, Blues, Folk. Softcover. 136 pages. Duration 165 seconds. Published by Homespun

Guitar

SKU: BT.MUSAM996996

Arranged by Russ Shipton. The Complete Guitar Player. Pop & Rock. Book with CD. Wise Publications #MUSAM996996. Published by Wise Publications (BT.MUSAM996996).

ISBN 9781849380140. English.

Th e Complete Guitar Player series has taught hundreds of thousands how to play and the accompanying songbooks have featured hits by Paul Simon, Elvis Presley, The Beatles, John Denver and many othertopartists.

N ow these songbooks are available in super value omnibus editions like this one. The songs are still graded by ease of playing and everything is there... standard notation, Guitar chord boxes, full lyrics andevenstrumming patterns!

Over 180 great songs! Perfect for all players and singers!

The bonus CD contains backing tracks to 16 of the songs in the book.

Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Castanets, Celesta, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, English Horn, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3 and more.

SKU: PR.16500100F

Hymns for Wind Ensemble. Composed by Dan Welcher. Sws. Full score. 48 pages. Duration 10 minutes, 41 seconds. Theodore Presser Company #165-00100F. Published by Theodore Presser Company (PR.16500100F).

ISBN 9781491114421. UPC: 680160669783. 9 x 12 inches.

Commissione d for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,”giving rise to the work’s title.
This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,” butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty” than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?” takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.”Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,”cons tantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.” This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key” of the hymn seems to shift — until the “Lord of all, toThee we praise” melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tune”heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty” with long spaces between them, but it soonchanges to a series of “Amen” cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth” contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sight”and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.

Performed by Billy Joel. For voice, piano and guitar chords. Volume 2 Revised. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics, chord names, guitar chord diagrams and contents by album. Soft rock and pop rock. 360 pages. 9x12 inches. Published by Hal Leonard.

Creative Concepts Publishing. Size 9x12 inches. 136 pages. Published by Creative Concepts.

By Frank Ticheli. Concert band. Suitable for middle school and high school bands. Grade 2. Conductor score and set of parts. Duration 2:15. Published by Manhattan Beach Music

By Wayne Erbsen. For Fiddle. Methods. Native Ground Music. Old Time. Level: Beginning. Book/CD Set. Size 9x12. 80 pages. Published by Native Ground Music.

Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords). Size 9x12 inches. 136 pages. Published by Word Music.

Concert Band/Harmonie - Grade 1

SKU: BT.AMP-376-140

Composed by Thomas Tallis. Arranged by Philip Sparke. Debut Series (Anglo). Score Only. Composed 2012. 16 pages. Anglo Music Press #AMP 376-140. Published by Anglo Music Press (BT.AMP-376-140).

9x12 inches. English-German-French-Dut ch.

The well-known 16th Century canon by Thomas Tallis is as effective as it is simple. This arrangement includes four verses of the melody: the first in the form of canon; the second for brass; the third for woodwind and the fourth for the entire orchestra. Philip Sparke’s arrangement is also well suited for incomplete brass ensembles.

Eenvoudig, maar met een bijzondere uitwerking. Dat is deze bekende canon van Thomas Tallis uit de zestiende eeuw. Deze bewerking geeft vier strofen van het lied: de eerste in de vorm van een canon, de tweede voor de koperblazers, de derde voor de houtblazers en de vierde voor het gehele orkest. Ook wanneer u met een onvolledige bezetting moet werken, is dit arrangement van Philip Sparke goed speelbaar.

Der bekannte Canon von Thomas Tallis aus dem 16. Jahrhundert ist ein ebenso einfaches wie wirkungsvolles Stück. Diese Bearbeitung präsentiert vier Strophen des Liedes: die erste in Kanonform, die zweite für die Blechbläser, die dritte für dieHolzbläser und die vierte für das gesamte Orchester. Philip Sparkes Arrangement ist auch für unvollständig besetzte Blasorchester gut spielbar.

Cet arrangement pour orchestre d’harmonie du célèbre Canon de Thomas Tallis - qui met en musique le psaume 67, God Grant we Grace - comprend quatre couplets de ce cantique. Le premier est en forme de canon, le deuxième est interprété par les cuivres, le troisième par les bois et le dernier est repris par l’orchestre entier. Le somptueux arrangement réalisé par Philip Sparke conviendra toutes les formations, même restreintes.

Questo arrangiamento per banda del celebre Canone del XVI secolo di Thomas Tallis che mette in musica il Salmo 67, God Grant we Grace, presenta quattro strofe estratte da questo cantico. La prima è proposta sotto forma di canone, la seconda affi data agli ottoni, la terza ai legni, e l’ultima è ripresa dall’intero organico. Il sontuoso arrangiamento di Philip Sparke si presta in modo ottimale a essere eseguito da ogni tipo di organico, anche ridotto.

Concert Band/Harmonie - Grade 1

SKU: BT.AMP-376-010

Composed by Thomas Tallis. Arranged by Philip Sparke. Debut Series (Anglo). Set (Score & Parts). Composed 2012. Anglo Music Press #AMP 376-010. Published by Anglo Music Press (BT.AMP-376-010).

9x12 inches. English-German-French-Dut ch.

The well-known 16th Century canon by Thomas Tallis is as effective as it is simple. This arrangement includes four verses of the melody: the first in the form of canon; the second for brass; the third for woodwind and the fourth for the entire orchestra. Philip Sparke’s arrangement is also well suited for incomplete brass ensembles.

Eenvoudig, maar met een bijzondere uitwerking. Dat is deze bekende canon van Thomas Tallis uit de zestiende eeuw. Deze bewerking geeft vier strofen van het lied: de eerste in de vorm van een canon, de tweede voor de koperblazers, de derde voor de houtblazers en de vierde voor het gehele orkest. Ook wanneer u met een onvolledige bezetting moet werken, is dit arrangement van Philip Sparke goed speelbaar.

Der bekannte Canon von Thomas Tallis aus dem 16. Jahrhundert ist ein ebenso einfaches wie wirkungsvolles Stück. Diese Bearbeitung präsentiert vier Strophen des Liedes: die erste in Kanonform, die zweite für die Blechbläser, die dritte für dieHolzbläser und die vierte für das gesamte Orchester. Philip Sparkes Arrangement ist auch für unvollständig besetzte Blasorchester gut spielbar.

Cet arrangement pour orchestre d’harmonie du célèbre Canon de Thomas Tallis - qui met en musique le psaume 67, God Grant we Grace - comprend quatre couplets de ce cantique. Le premier est en forme de canon, le deuxième est interprété par les cuivres, le troisième par les bois et le dernier est repris par l’orchestre entier. Le somptueux arrangement réalisé par Philip Sparke conviendra toutes les formations, même restreintes.

Questo arrangiamento per banda del celebre Canone del XVI secolo di Thomas Tallis che mette in musica il Salmo 67, God Grant we Grace, presenta quattro strofe estratte da questo cantico. La prima è proposta sotto forma di canone, la seconda affi data agli ottoni, la terza ai legni, e l’ultima è ripresa dall’intero organico. Il sontuoso arrangiamento di Philip Sparke si presta in modo ottimale a essere eseguito da ogni tipo di organico, anche ridotto.

by William Bay. For all guitars. All styles, class. Level: Intermediate. Book. Method. Size 8.75x11.75. 200 pages. Published by Mel Bay Pub., Inc.

100 Tunes You Need to Know. For Bb instruments. Standards, bossa novas, bebop and classic jazz, contemporary jazz. Published by Sher Music Company.

Composed by Kyle Pederson. African American Heritage. Instrumental part. Galaxy Music Corporation #1.3610. Published by Galaxy Music Corporation

Piano Technique. By Albert De Vito. Piano Method. Size 9x12 inches. 168 pages. Published by Kenyon.

Concert Band/Harmonie - Grade 3

SKU: BT.DHP-1053914-010

Arranged by Roland Kernen. Applause Series. Original Light Music. Set (Score & Parts). Composed 2005. De Haske Publications #DHP 1053914-010. Published by De Haske Publications (BT.DHP-1053914-010).

9x12 inches. English-German-French-Dut ch.

Bella Italia is a medley of three Neapolitan songs that were made famous and popular by the tenor Mario Lanza. The work opens with the graceful waltz Santa Lucia, which is followed by a Latin-style version of O Sole Mio, a melody that became even more well known when used by Elvis Presley as the basis of the song It’s Now or Never. The cheerful Funiculì, Funicul ends the medley in 6/8 time. This arrangement for concert band by Roland Kernen will appeal to a broad audience and will leave both the band and the audience in a high-spirited mood.

Bella Italia is een medley van drie Napolitaanse liederen die met name door de tenor Mario Lanza bekend en geliefd zijn gemaakt bij een groot publiek. De sierlijke wals Santa Lucia komt als eerste aan bod. Dan volgteen latin-style versie van O Sole Mio. Het vrolijke Funiculì, Funicul sluit het geheel af in een 6/8 maat. Dit aanstekelijke arrangement voor harmonieorkest van Roland Kernen brengt zowel het orkest als het publiek in eenuitbundige stemming.

Bella Italia ist ein Medley aus drei neapolitanischen Liedern, die durch den Tenor Mario Lanza bei einem breiten Publikum bekannt und beliebt geworden sind. Den Anfang macht der würdevolle Walzer Santa Lucia. Dann folgt eine Version von O Sole Mio im lateinamerikanischen Stil. Diese Melodie erlangte noch größere Berühmtheit in It’s Now or Never von Elvis Presley. Das fröhliche Funiculì, Funicul beendet das Medley im 6/8- Takt. Diese reizvolle Bearbeitung für Blasorchester von Roland Kernen versetzt sowohl Musiker als auch das Publikum in Hochstimmung.

Bell a Italia est un medley de trois chants napolitains rendus célèbres auprès du grand public par le ténor Mario Lanza. La valse gracieuse Santa Lucia ouvre le medley. S’ensuit le célébrissime O Sole Mio dans une version aux accents latino-américains. Le pétillant Funiculì, Funicul clôt le medley dans un 6/8 tourbillonnant. Cet arrangement pour Orchestre d’Harmonie signé Roland Kernen séduira les musiciens et l’auditoire.

Bella Italia è un medley di tre canti napoletani resi celebri al grande pubblico dal tenore Mario Lanza. Il primo brano del medley è il grazioso valzer Santa Lucia. Segue la famosissima O Sole Mio in una versione dagli accentilatino-americani. Lo spumeggiante Funiculì, Funicul chiude questo medley in un 6/8 vorticoso.

Concert Band/Harmonie - Grade 3

SKU: BT.DHP-1053914-140

Arranged by Roland Kernen. Applause Series. Original Light Music. Score Only. Composed 2005. 40 pages. De Haske Publications #DHP 1053914-140. Published by De Haske Publications (BT.DHP-1053914-140).

9x12 inches. English-German-French-Dut ch.

Bella Italia is a medley of three Neapolitan songs that were made famous and popular by the tenor Mario Lanza. The work opens with the graceful waltz Santa Lucia, which is followed by a Latin-style version of O Sole Mio, a melody that became even more well known when used by Elvis Presley as the basis of the song It’s Now or Never. The cheerful Funiculì, Funicul ends the medley in 6/8 time. This arrangement for concert band by Roland Kernen will appeal to a broad audience and will leave both the band and the audience in a high-spirited mood.

Bella Italia is een medley van drie Napolitaanse liederen die met name door de tenor Mario Lanza bekend en geliefd zijn gemaakt bij een groot publiek. De sierlijke wals Santa Lucia komt als eerste aan bod. Dan volgteen latin-style versie van O Sole Mio. Het vrolijke Funiculì, Funicul sluit het geheel af in een 6/8 maat. Dit aanstekelijke arrangement voor harmonieorkest van Roland Kernen brengt zowel het orkest als het publiek in eenuitbundige stemming.

Bella Italia ist ein Medley aus drei neapolitanischen Liedern, die durch den Tenor Mario Lanza bei einem breiten Publikum bekannt und beliebt geworden sind. Den Anfang macht der würdevolle Walzer Santa Lucia. Dann folgt eine Version von O Sole Mio im lateinamerikanischen Stil. Diese Melodie erlangte noch größere Berühmtheit in It’s Now or Never von Elvis Presley. Das fröhliche Funiculì, Funicul beendet das Medley im 6/8- Takt. Diese reizvolle Bearbeitung für Blasorchester von Roland Kernen versetzt sowohl Musiker als auch das Publikum in Hochstimmung.

Bell a Italia est un medley de trois chants napolitains rendus célèbres auprès du grand public par le ténor Mario Lanza. La valse gracieuse Santa Lucia ouvre le medley. S’ensuit le célébrissime O Sole Mio dans une version aux accents latino-américains. Le pétillant Funiculì, Funicul clôt le medley dans un 6/8 tourbillonnant. Cet arrangement pour Orchestre d’Harmonie signé Roland Kernen séduira les musiciens et l’auditoire.

Bella Italia è un medley di tre canti napoletani resi celebri al grande pubblico dal tenore Mario Lanza. Il primo brano del medley è il grazioso valzer Santa Lucia. Segue la famosissima O Sole Mio in una versione dagli accentilatino-americani. Lo spumeggiante Funiculì, Funicul chiude questo medley in un 6/8 vorticoso.