Composed by Leopold Godowsky (1870-1938). Collection for piano. With fingerings, pedal markings and introductory text. 400 pages. Published by Carl Fischer.

Composed by Aaron David Miller. For SATB choir, organ. Cathedral. Choral, Easter. Medium. Choral octavo. Published by Paraclete Press

By Various. Jazz. Fake Book. 550 pages. Published by Sher Music Company. CD Included with the book contains 37 melodies played by the following artists: Bob Sheppard - saxes and flute Steve Houghton - drums Dave Carpenter - acoustic bass Paul van Wageningen - drums Marc van Wageningen - electric bass Larry Dunlap - piano and synthesizer Dave Mac Nab - guitar.

For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Folk. Series: Hal Leonard Fake Books. 536 pages. 9.6x12 inches. Published by Hal Leonard.

Edited by Patrick Sky. For fiddle. All styles. Level: Multiple Levels. Book. Songbook. Size 8.75x11.75. 176 pages. Published by Mel Bay Pub., Inc.

Voice and Piano. By Richard Johnston. (resource book). Vocal Collection. Size 8.5x11 inches. 400 pages. Published by E.c. Kerby.

Choral Cello, Clarinet, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Oboe, Percussion 1, Percussion 2, Piano, Trombone 1, Trombone 2, Trumpet 1, Trumpet 2, Tuba, Viola, Violin 1, Violin 2, alto voice, bass voice, bassoon, soprano voice, tenor voice

SKU: CF.CM8752IN

Composed by Jill Jackson Sy Miller. Arranged by Mark Hayes. With Standard notation. 24+4+4+3+3+3+3+3+2+2+2+2+ 2+6+8+3+32+32+15+15+15 pages. Carl Fischer Music #CM8752IN. Published by Carl Fischer Music (CF.CM8752IN).

UPC: 798408047276. Key: C major. English. Sy Miller, Jill Jackson.

Let There Be Peace on Earth has long been a favorite of church, community and school choirs across this country. From the first few measures of the introduction, a tone of reverence and dignity is heard. The arrangement gradually builds in strength arid intensity, sensitively supporting the beauty of the text. A half-step modulation in the second verse moves to the climactic ending, which echoes the phrase, Let there be peace! This is truly a song for our time.

By Various. For Choir. Evangelical Lutheran Worship. Published by Augsburg Fortress

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

The Group Singing Songbook. By Various. Vocal. Size 9.5x12 inches. 281 pages. Published by Hal Leonard.

Arranged by Peter Blood, Annie Patterson. Vocal. Size 7.5x10.5 inches. 283 pages. Published by Hal Leonard.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Finger Cymbals, Flute, Flute 2, Horn, Mallet Percussion, Mark Tree, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal and more. - Grade 2

SKU: CF.YPS249F

Three Persian Folk Songs. Composed by Michael J. Miller. Yps. Full score. 20 pages. Duration 3 minutes, 29 seconds. Carl Fischer Music #YPS249F. Published by Carl Fischer Music (CF.YPS249F).

ISBN 9781491161883. UPC: 680160920563.

By Lantern's Light is a medley of Persian folk songs. The songs come from a collection for voice and piano by Clair Fairchild in his Twelve Persian Folk Songs published by Novello and Company, London, 1904. Fairchild's goal was to capture the spirit and ambiance of Persia's music and musicians. Fairchild took special care to preserve their authenticity by limiting western harmony. Such is also the case in this setting for concert band. Special attention should be given to replicate songlike phrasing of the melodic lines and the rhythmic integrity and style of the accompaniment. Conductors are encouraged to take liberties with dynamics and articulations to help performers play expressively. There are many inflections that exist beyond what is printed on the page. For example, the reeds might subtly shape the rhythmic accompaniment in m. 6-7, as might the trumpets with the melody in m. 18. In. m. 23, the wind musicians other than the trumpets are a part of the rhythm section with the percussion. These rhythms should fit together nicely to create a steady cadence. The melodic statements beginning at m. 35 should be carefully balanced to speak evenly throughout the various voices. If an oboist is not available, the solo in m. 57 has been cued in the alto saxophone.
By Lantern's Light is a medley of Persian folk songs. The songs come from a collection for voice and piano by Clair Fairchild in his Twelve Persian Folk Songs published by Novello and Company, London, 1904. Fairchild's goal was to capture the spirit and ambiance of Persia's music and musicians. Fairchild took special care to preserve their authenticity by limiting western harmony. Such is also the case in this setting for concert band. Special attention should be given to replicate songlike phrasing of the melodic lines and the rhythmic integrity and style of the accompaniment. Conductors are encouraged to take liberties with dynamics and articulations to help performers play expressively. There are many inflections that exist beyond what is printed on the page. For example, the reeds might subtly shape the rhythmic accompaniment in m. 6-7, as might the trumpets with the melody in m. 18. In. m. 23, the wind musicians other than the trumpets are a part of the rhythm section with the percussion. These rhythms should fit together nicely to create a steady cadence. The melodic statements beginning at m. 35 should be carefully balanced to speak evenly throughout the various voices. If an oboist is not available, the solo in m. 57 has been cued in the alto saxophone.
By Lantern’s Light is a medley of Persian folk songs. The songs come from a collection for voice and piano by Clair Fairchild in his Twelve Persian Folk Songs published by Novello and Company, London, 1904. Fairchild’s goal was to capture the spirit and ambiance of Persia’s music and musicians. Fairchild took special care to preserve their authenticity by limiting western harmony. Such is also the case in this setting for concert band. Special attention should be given to replicate songlike phrasing of the melodic lines and the rhythmic integrity and style of the accompaniment. Conductors are encouraged to take liberties with dynamics and articulations to help performers play expressively. There are many inflections that exist beyond what is printed on the page. For example, the reeds might subtly shape the rhythmic accompaniment in m. 6-7, as might the trumpets with the melody in m. 18. In. m. 23, the wind musicians other than the trumpets are a part of the rhythm section with the percussion. These rhythms should fit together nicely to create a steady cadence. The melodic statements beginning at m. 35 should be carefully balanced to speak evenly throughout the various voices. If an oboist is not available, the solo in m. 57 has been cued in the alto saxophone.

By Percy Buck. Arranged by Jean Gilbert. For Nursery rhymes for ages 3-5. Song Book. Miscellaneous. 80 pages

Oboe

SKU: BT.9781408105283

Composed by Helen McKean. Abracadabra. Method. Book with CD. Collins Music Publishing #9781408105283. Published by Collins Music Publishing (BT.9781408105283).

ISBN 9781408105283. English.

The perfect book for pupil and teacher.

• Tunes you know and want to play.
• Technique carefully graded.
• Clear fingering diagrams.
• Concise theory explanations.
• New duets.
• Fresh new look.

For Bagpipes. Traditional, Folk. Level: Intermediate. Sheet Music. 136 pages. Published by Paterson Ltd.

(An Introduction Through Folk Songs and Singing Games) Selected and correlated by Frances Clark, arranged by David Kraehenbuehl, edited by Louise Goss. Songbook for easy solo piano. 32 pages. Published by Summy-Birchard Inc.

SKU: GI.G-10833

Composed by Daniel Gregerman. Music Education. 150 pages. GIA Publications #10833. Published by GIA Publications (GI.G-10833).

ISBN 9781574635614.

From philosophy, auditions, and lesson planning to improvisation and literature selection, this diverse group of nationally recognized educators at all levels discuss these topics and more. Each director practically walks you through a rehearsal! Whether you are a seasoned vocal jazz director or someone looking to get started, the authors’ concepts on running an outstanding vocal jazz program has something for everyone. There are different vocal timbres that we expect to hear in different styles, and I believe that there are ways to produce a variety of sounds in a healthy way with sound technique. —Andrew Dahan     Niles North High School, Skokie, IL When starting a vocal jazz ensemble, I keep the literature on the easy side so concepts of style, tone, vibrato, balance, and blend can be focused on without pounding out notes. —Roger Emerson     Professional Composer and Arranger As with any language, one of the fastest ways to learn about different styles, genres, and other idiosyncrasies is to immerse ourselves in the language. —Daniel Gregerman     Glenbrook South High School, Glenview, IL I think of the audition process as a necessary means to help me ‘cast’ the ensemble. —Greg Jasperse     Western Michigan University My overall philosophy is that teaching jazz is extremely important. The creation of this music is unique to America, and it is imperative that we keep our youth informed. —Connaitre Miller     Howard University We don’t really ever ‘finish’ a piece or arrangement, do we? We work on the repertoire and the music arrives to an artistic place. —Kate Reid     University of Miami, Frost School of Music Jazz is a genre that has to be primarily learned from listening. Exposing students to a wide variety of jazz and contemporary styles is one of the most important things we need to do. —John Stafford II     Kansas City Kansas Community College My jazz singers are the best music readers in the department, and I never do any sight singing with the jazz choirs. That is all done in the traditional choirs. —Janice Vlachos     Fairview High School, Boulder, CO It takes a good amount of work to achieve a unified sound, however, within working on the minute details and repetition, it is those moments of victory during the rehearsals that make it all worth it. —Gaw Vang Williams     Sacramento State College Vocal jazz encourages personal expression through which improvisation has become a hallmark trait of the genre. —Natalie Wilson     Grass Valley Elementary School, Camas, WA.

Choral (3-Part Mixed choir)

SKU: HL.354705

Discovery Level 2. Composed by Johnny Marks. Arranged by Cristi Cary Miller. Discovery Choral. Christmas, Holiday, Jazz. Octavo. Duration 165 seconds. Published by Hal Leonard (HL.354705).

UPC: 840126937541. 6.75x10.5x0.036 inches.

This arrangement of the beloved Christmas song uses a jazz style that sets the pace for a fun presentation.The accessible voice parts offer singers an opportunity to explore scat singing with fun new chords. Singers can also add to the Christmas spirit by wearing sunglasses and antlers while Rudolph pays a special visit to the festive presentation.

Choral (2-Part)

SKU: HL.354706

Discovery Level 2. Composed by Johnny Marks. Arranged by Cristi Cary Miller. Discovery Choral. Christmas, Holiday, Jazz. Octavo. 12 pages. Duration 165 seconds. Published by Hal Leonard (HL.354706).

UPC: 840126937558. 6.75x10.5x0.029 inches.

This arrangement of the beloved Christmas song uses a jazz style that sets the pace for a fun presentation.The accessible voice parts offer singers an opportunity to explore scat singing with fun new chords. Singers can also add to the Christmas spirit by wearing sunglasses and antlers while Rudolph pays a special visit to the festive presentation.

Choral (3-Part Mixed choir)

SKU: HL.141253

Discovery Level 2. Composed by Aaron Zeitlin, Arthur Kevess, Sheldon Secunda, Sholom Sholem Secunda, and Teddi Schwartz. Arranged by Cristi Cary Miller. Discovery Choral. Concert, Festival. Octavo. 16 pages. Published by Hal Leonard (HL.141253).

UPC: 888680044114. 6.75x10.5 inches.

This song from the Yiddish theater also found popularity in the folk movement of the 1960s and this arrangement will be a nice addition to multicultural programming for choirs of today. Use dynamics and phrasing to help tell the story of the calf on the way to market.

ScorePlay - click to view score with recording.

Choral (VoiceTrax CD)

SKU: HL.141255

Discovery Level 2. Composed by Aaron Zeitlin, Arthur Kevess, Sheldon Secunda, Sholom Sholem Secunda, and Teddi Schwartz. Arranged by Cristi Cary Miller. Discovery Choral. Concert, Festival. CD only. Published by Hal Leonard (HL.141255).

UPC: 888680044138. 5x5 inches.

This song from the Yiddish theater also found popularity in the folk movement of the 1960s and this arrangement will be a nice addition to multicultural programming for choirs of today. Use dynamics and phrasing to help tell the story of the calf on the way to market.