Concert Band - Grade 4

SKU: ML.013758070

Composed by Eduardo M. Brito. Full set. Molenaar Edition #013758070. Published by Molenaar Edition (ML.013758070).

Originally written in 2017 for 'Banda Orquestral de Câmara de Lobos 'Os Infantes'', this composition is now published here for Concert Band, arranged and revised by the author himself. With a Swinged Funk Style, this piece present us with a neat and cool groove that will put your light musical habilities to the test. When asked about the title of the piece for the first time, the author who at the time still didn't thought about it yet, replied 'Who knows?'. And the name stuck!

Oorspronkel ijk geschreven in 2017 voor 'Banda Orquestral de Câmara de Lobos 'Os Infantes'', is deze compositie nu hier gepubliceerd voor Concert Band, gearrangeerd en herzien door de auteur zelf. Met een Swinged Funk-stijl presenteert dit stuk ons een nette en coole groove die je lichte muzikale vaardigheden op de proef zal stellen. Toen de auteur, die er toen nog niet over nadacht, voor het eerst naar de titel van het stuk werd gevraagd, antwoordde hij ' Who knows?'. En de naam bleef hangen!

Originelle ment écrite en 2017 pour la 'Banda Orquestral de Câmara de Lobos 'Os Infantes'', cette composition est maintenant publiée ici pour Orchestre d'Harmonie, arrangée et révisée par l'auteur lui-même. Avec un style Swinged Funk, ce morceau nous présente un groove soigné et cool qui mettra à l'épreuve vos capacités musicales légères. Lorsqu'on lui a demandé pour la première fois quel était le titre de cette pièce, l'auteur, qui à l'époque n'y avait pas encore réfléchi, a répondu: ' Who knows ? Et le nom est resté !

Ursprünglich im Jahr 2017 für die 'Banda Orquestral de Câmara de Lobos 'Os Infantes'' geschrieben, wird diese Komposition nun hier für Concert Band veröffentlicht, arrangiert und überarbeitet vom Autor selbst. Mit einem Swinged Funk Style präsentiert uns dieses Stück einen ordentlichen und coolen Groove, der Ihre leichten musikalischen Fähigkeiten auf die Probe stellen wird. Als der Autor zum ersten Mal nach dem Titel des Stückes gefragt wurde, antwortete er, der damals noch nicht darüber nachdachte, ' Who knows?'. Und der Name blieb hängen!

Flute, Clarinet, Oboe, Bassoon, French Horn and Percussion

SKU: BT.MUSM570363285

Composed by Laurence Roman. Set of Parts. University of York Music Press #MUSM570363285. Published by University of York Music Press (BT.MUSM570363285).

English.

For Flute, Oboe, Clarinet, Bassoon and Horn (and sounds effects - a car horn, a slammable door, destructible crockery and a burstable balloon). Three movements, based on poems by Hilaire Belloc. 1. Hildebrand (who was frightened by a Passing Motor, and was brought to Reason) 2. Rebecca (who slammed Doors for Fun and Perished Miserably) 3. George (Who played with a Dangerous Toy, and suffered a Catastrophe of considerable Dimensions).

Concert band - Grade 4-5

SKU: P2.W0004

Composed by James Grant. Published by Potenza Music (P2.W0004).

Tribute: Those Who Serve, scored for Grade 4/5 band, is dedicated to the bravery, heroism and sacrifice of First Responders. The music is based on an earlier work for orchestra, called Tribute, commissioned by conductor Michael Gagliardo and the Etowah Youth Symphony Orchestra to commemorate the events of September 11, 2001. I composed the original Tribute in the spring of 2002 while in residence at Copland House in Cortlandt Manor, NY, where Aaron Copland lived and worked the last thirty years of his life. With gratitude to Copland House and as my own tribute to Mr. Copland, the orchestral version of Tribute opened and closed with the composer's initials A.C. featured in the strings as major chords on A and C. Mercifully, the current version for band has been transposed up a half-step to the key of B-flat. A central section in D-flat features robust quotes from Copland's Fanfare for the Common Man, a work that is at the spiritual core of Tribute: Those Who Serve.Tribute: Those Who Serve invites us to pause and reflect on the daily acts of valor exhibited by the many First Responders in our local communities--law enforcement officials, firefighters, search and rescue teams, emergency medical technicians and citizen volunteers, to name but a few. My hope is that Tribute: Those Who Serve will inspire community and school bands nationwide to hold events to honor the brave women and men who serve with consummate commitment and determination in our local communities, selflessly standing tall in times of local and national crisis.

Orchestra Concert Band

SKU: PR.44641256L

For Orchestra. Composed by Ellen Taaffe Zwilich. This edition: Orchestra version. Contemporary. Large Score. With Standard notation. Composed 2010. 28 pages. Duration 12 minutes. Theodore Presser Company #446-41256L. Published by Theodore Presser Company (PR.44641256L).

UPC: 680160596010. 11 x 17 inches. Key: A major.

Fanfare; Reminiscence and Celebration is in 2 movements. I. Fanfare The opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience. II. Reminiscence and Celebration The 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.
Fanfare; Reminiscence and Celebration is in 2 movements. I. Fanfare The opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall a each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience. II. Reminiscence and Celebration The 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.
Fanfare; Reminiscence and Celebration is in 2 movements. I. Fanfare The opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall -- each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience. II. Reminiscence and Celebration The 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.
Fanfare; Reminiscence and Celebration is in 2 movements.I. FanfareThe opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall — each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience.II. Reminiscence and CelebrationThe 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.

Orchestra Concert Band

SKU: PR.446412560

For Orchestra. Composed by Ellen Taaffe Zwilich. This edition: Orchestra version. Sws. Contemporary. Full score. With Standard notation. Composed 2010. 28 pages. Duration 12 minutes. Theodore Presser Company #446-41256. Published by Theodore Presser Company (PR.446412560).

ISBN 9781598063738. UPC: 680160596003. 9x12 inches. Key: A major.

Fanfare; Reminiscence and Celebration is in 2 movements. I. Fanfare The opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience. II. Reminiscence and Celebration The 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.
Fanfare; Reminiscence and Celebration is in 2 movements. I. Fanfare The opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall a each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience. II. Reminiscence and Celebration The 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.
Fanfare; Reminiscence and Celebration is in 2 movements. I. Fanfare The opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall -- each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience. II. Reminiscence and Celebration The 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.
Fanfare; Reminiscence and Celebration is in 2 movements.I. FanfareThe opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall — each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience.II. Reminiscence and CelebrationThe 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.

Combo Edition of Books 1 and 2 with Online Audio. Guitar Tab Method. Instruction, Method. Softcover Audio Online. 64 pages. Published by Hal LeonISBN 9781705141724. 9.0x12.0 inches. Get started quickly and easily, and with songs you want to play! Learn the notes of the bass with riffs like "Day Tripper" and "Stand by Me," reading rhythms and tab with classics by the Who and Red Hot Chili Peppers, fingerstyle and pick technique with songs like "Roxanne" and "Low Rider," beginning slap technique with songs like "Higher Ground" and "Fly Away," and much more. The method's unique, well-paced, and logical teaching sequence will get students playing more easily than ever before, and music from popular artists like the Beatles, Nirvana, and Green Day will keep them playing and having fun. This special combo edition includes books one and two of the series plus online audio access.ard

SATB choir and keyboard, with optional congregation - Early Intermediate

SKU: MN.50-1152

Composed by James Chepponis. Advent, Christmas, Feast of the Holy Family, Lessons and Carols. Instrumental part. MorningStar Music Publishers #50-1152. Published by MorningStar Music Publishers (MN.50-1152).

UPC: 688670511523. English.

This hymn-anthem tells the astounding story of the God who is revered by all of creation- earth, sea, and sky- choosing Mary to be the mother of the Savior. The mixed meters employed for the 6th-century poetry are anything but jarring, and the middle stanza is set to different music with a medieval feel that accentuates the repetition of the word blest to describe Mary's destiny. A delightful but substantial anthem useful for Marian feasts as well as Christmastide. The keyboard part works well on both organ and piano. Congregational participation is welcome but not required; reprint material is included.

(Voice and Piano)

SKU: HL.48189385

Composed by Isabelle Aboulker. Leduc. Classical. CD. Alphonse Leduc #NT10800R. Published by Alphonse Leduc (HL.48189385).

UPC: 888680991869. 9.0x12.0 inches.

Known for her Operas and Vocal works, contemporary composer, Isabelle Aboulker has won numerous prizes for her compositions. 1918, The Man who was Staggering in the War has met much success and is a sublime addition to the Vocal repertoire. Aboulker was commissioned to write the work in 1998 to commemorate the 80th anniversary of the ending of World War I. 1918, The Man who was Staggering in the War was later chosen to represent France when Weimar became European city of culture in 1999. Written for Voice and Piano, 1918, The Man who was staggering in the War is an Oratorio. As an exciting, alternative collection of songs in the Vocal repertoire, Aboulker''s 1918, The Man who was Staggering in the War is an exquisite addition to any singer''s repertoire..

By Lloyd Larson. For SATB choir and piano. Holy Week, Lent, Sacred. Sacred Anthem. Published by Exaltation Publications. (10/3656L)

Composed by Rory Cooney. For SAB choir, assembly, keyboard accompaniment, cello, flute, trumpet. Celebration Series. Sacred. Easy. Octavo. Guitar chord names. 8 pages. Published by GIA Publications

SATB choir, 2 horns, violin solo, 2 violins, viola, organ solo, basso continuo

SKU: CA.5136111

Motet. Composed by Wolfgang Amadeus Mozart. Edited by Armin Kircher. This edition: urtext. Stuttgart Urtext Edition: Mozart. German title: Quis Te Comprehendat. Gran Partita. Sacred, Motets. Single Part, Violin 1. KV Anh. 110. 4 pages. Duration 4 minutes. Carus Verlag #CV 51.361/11. Published by Carus Verlag (CA.5136111).

ISBN 9790007224998. Key: E flat major. Language: Latin.

Motet of an unknown arranger (ca. 1820), based on th Adagio of the Serenade KV 361 (Gran Partita). The motet Quis te comprehendat, K-Anhang 110, is based on the Adagio in Mozart's Wind Serenade K. 361, the Gran Partita. The arrangement of this instrumental movement with the addition of a four-part choir deserves to be regarded as a successful example of the practice of parody, on a higher level than many less accomplished arrangements of the period. As in most of those cases the identity of the arranger is unknown, but his sensitive treatment of the original points to a gifted musician. Characteristic accompanying figures are given to the strings, while the solo violin and the organ appear melodically. The homophonic choral setting, whose Latin words are a religious song of praise with no specific liturgical connection, is based on the works harmonic substance. The vocal parts follow the framework and compactly fill out the accompanying instrumental writing. Score and part available separately - see item CA.5136100.

SATB choir, 2 horns, violin solo, 2 violins, viola, organ solo, basso continuo

SKU: CA.5136119

Motet. Composed by Wolfgang Amadeus Mozart. Edited by Armin Kircher. This edition: urtext. Stuttgart Urtext Edition: Mozart. Quis Te Comprehendat. Gran Partita. Sacred vocal music, Motets. Set of Orchestra Parts. KV Anh. 110. Duration 4 minutes. Carus Verlag #CV 51.361/19. Published by Carus Verlag (CA.5136119).

ISBN 9790007145712. Key: E flat major. Language: Latin.

Motet of an unknown arranger (ca. 1820), based on th Adagio of the Serenade KV 361 (Gran Partita). The motet Quis te comprehendat, K-Anhang 110, is based on the Adagio in Mozart's Wind Serenade K. 361, the Gran Partita. The arrangement of this instrumental movement with the addition of a four-part choir deserves to be regarded as a successful example of the practice of parody, on a higher level than many less accomplished arrangements of the period. As in most of those cases the identity of the arranger is unknown, but his sensitive treatment of the original points to a gifted musician. Characteristic accompanying figures are given to the strings, while the solo violin and the organ appear melodically. The homophonic choral setting, whose Latin words are a religious song of praise with no specific liturgical connection, is based on the works harmonic substance. The vocal parts follow the framework and compactly fill out the accompanying instrumental writing. Score and parts available separately - see item CA.5136100.

SATB choir, 2 horns, violin solo, 2 violins, viola, organ solo, basso continuo

SKU: CA.5136105

Motet. Composed by Wolfgang Amadeus Mozart. Edited by Armin Kircher. This edition: urtext. Stuttgart Urtext Edition: Mozart. German title: Quis Te Comprehendat. Gran Partita. Sacred, Motets. Choral Score. KV Anh. 110. 4 pages. Duration 4 minutes. Carus Verlag #CV 51.361/05. Published by Carus Verlag (CA.5136105).

ISBN 9790007110918. Key: E flat major. Language: Latin.

Motet of an unknown arranger (ca. 1820), based on th Adagio of the Serenade KV 361 (Gran Partita). The motet Quis te comprehendat, K-Anhang 110, is based on the Adagio in Mozart's Wind Serenade K. 361, the Gran Partita. The arrangement of this instrumental movement with the addition of a four-part choir deserves to be regarded as a successful example of the practice of parody, on a higher level than many less accomplished arrangements of the period. As in most of those cases the identity of the arranger is unknown, but his sensitive treatment of the original points to a gifted musician. Characteristic accompanying figures are given to the strings, while the solo violin and the organ appear melodically. The homophonic choral setting, whose Latin words are a religious song of praise with no specific liturgical connection, is based on the works harmonic substance. The vocal parts follow the framework and compactly fill out the accompanying instrumental writing. Score available separately - see item CA.5136100.

SATB choir, 2 horns, violin solo, 2 violins, viola, organ solo, basso continuo

SKU: CA.5136114

Motet. Composed by Wolfgang Amadeus Mozart. Edited by Armin Kircher. This edition: urtext. Stuttgart Urtext Edition: Mozart. German title: Quis Te Comprehendat. Gran Partita. Sacred, Motets. Single Part, Cello/Double Bass. KV Anh. 110. 2 pages. Duration 4 minutes. Carus Verlag #CV 51.361/14. Published by Carus Verlag (CA.5136114).

ISBN 9790007225025. Key: E flat major. Language: Latin.

Motet of an unknown arranger (ca. 1820), based on th Adagio of the Serenade KV 361 (Gran Partita). The motet Quis te comprehendat, K-Anhang 110, is based on the Adagio in Mozart's Wind Serenade K. 361, the Gran Partita. The arrangement of this instrumental movement with the addition of a four-part choir deserves to be regarded as a successful example of the practice of parody, on a higher level than many less accomplished arrangements of the period. As in most of those cases the identity of the arranger is unknown, but his sensitive treatment of the original points to a gifted musician. Characteristic accompanying figures are given to the strings, while the solo violin and the organ appear melodically. The homophonic choral setting, whose Latin words are a religious song of praise with no specific liturgical connection, is based on the works harmonic substance. The vocal parts follow the framework and compactly fill out the accompanying instrumental writing. Score and part available separately - see item CA.5136100.

SATB choir, 2 horns, violin solo, 2 violins, viola, organ solo, basso continuo

SKU: CA.5136112

Motet. Composed by Wolfgang Amadeus Mozart. Edited by Armin Kircher. This edition: urtext. Stuttgart Urtext Edition: Mozart. German title: Quis Te Comprehendat. Gran Partita. Sacred, Motets. Single Part, Violin 2. KV Anh. 110. 4 pages. Duration 4 minutes. Carus Verlag #CV 51.361/12. Published by Carus Verlag (CA.5136112).

ISBN 9790007225001. Key: E flat major. Language: Latin.

Motet of an unknown arranger (ca. 1820), based on th Adagio of the Serenade KV 361 (Gran Partita). The motet Quis te comprehendat, K-Anhang 110, is based on the Adagio in Mozart's Wind Serenade K. 361, the Gran Partita. The arrangement of this instrumental movement with the addition of a four-part choir deserves to be regarded as a successful example of the practice of parody, on a higher level than many less accomplished arrangements of the period. As in most of those cases the identity of the arranger is unknown, but his sensitive treatment of the original points to a gifted musician. Characteristic accompanying figures are given to the strings, while the solo violin and the organ appear melodically. The homophonic choral setting, whose Latin words are a religious song of praise with no specific liturgical connection, is based on the works harmonic substance. The vocal parts follow the framework and compactly fill out the accompanying instrumental writing. Score and part available separately - see item CA.5136100.

SATB choir, 2 horns, violin solo, 2 violins, viola, organ solo, basso continuo

SKU: CA.5136109

Motet. Composed by Wolfgang Amadeus Mozart. Edited by Armin Kircher. This edition: urtext. 2x 51.361/31 2 horns. Stuttgart Urtext Edition: Mozart. German title: Quis Te Comprehendat. Gran Partita. Sacred, Motets. Set of Orchestra Parts. KV Anh. 110. 4 pages. Duration 4 minutes. Carus Verlag #CV 51.361/09. Published by Carus Verlag (CA.5136109).

ISBN 9790007224981. Key: E flat major. Language: Latin.

Motet of an unknown arranger (ca. 1820), based on th Adagio of the Serenade KV 361 (Gran Partita). The motet Quis te comprehendat, K-Anhang 110, is based on the Adagio in Mozart's Wind Serenade K. 361, the Gran Partita. The arrangement of this instrumental movement with the addition of a four-part choir deserves to be regarded as a successful example of the practice of parody, on a higher level than many less accomplished arrangements of the period. As in most of those cases the identity of the arranger is unknown, but his sensitive treatment of the original points to a gifted musician. Characteristic accompanying figures are given to the strings, while the solo violin and the organ appear melodically. The homophonic choral setting, whose Latin words are a religious song of praise with no specific liturgical connection, is based on the works harmonic substance. The vocal parts follow the framework and compactly fill out the accompanying instrumental writing. Score and parts available separately - see item CA.5136100.

Small Voices Publishing. Composed by Jim Papoulis. Small Voices. Festival, Concert. Octavo. 16 pages. Published by Hal Leonard

Arranged by Chuck Israels. For little big band. Swing, Jazz. Difficult. Score and parts. Published by Jazz Lines Publications

SATB choir, 2 horns, violin solo, 2 violins, viola, organ solo, basso continuo

SKU: CA.5136103

Motet. Composed by Wolfgang Amadeus Mozart. Edited by Armin Kircher. This edition: urtext. Stuttgart Urtext Edition: Mozart. German title: Quis Te Comprehendat. Gran Partita. Sacred, Motets. Vocal score. KV Anh. 110. 8 pages. Duration 4 minutes. Carus Verlag #CV 51.361/03. Published by Carus Verlag (CA.5136103).

ISBN 9790007110826. Key: E flat major. Language: Latin.

Motet of an unknown arranger (ca. 1820), based on th Adagio of the Serenade KV 361 (Gran Partita). The motet Quis te comprehendat, K-Anhang 110, is based on the Adagio in Mozart's Wind Serenade K. 361, the Gran Partita. The arrangement of this instrumental movement with the addition of a four-part choir deserves to be regarded as a successful example of the practice of parody, on a higher level than many less accomplished arrangements of the period. As in most of those cases the identity of the arranger is unknown, but his sensitive treatment of the original points to a gifted musician. Characteristic accompanying figures are given to the strings, while the solo violin and the organ appear melodically. The homophonic choral setting, whose Latin words are a religious song of praise with no specific liturgical connection, is based on the works harmonic substance. The vocal parts follow the framework and compactly fill out the accompanying instrumental writing. Score available separately - see item CA.5136100.

The Book of Urizen is Jacob de Haan his first Symphony for concert band, solo soprano, and a male narrator in which sound collages of expressions are used. The piece is inspired by the compelling visionary poem of the samename (which the poet illustrated himself) by the Englishman William Blake (1757-1827). The Vision, first movement and The Creation, second movement of The Book of Urizen are available by following editionnumber: DHP 1043551. The Web, the third movement of The Book of Urizen is available by the following edition number: DHP 1125252. Download the audio samples here: track 1, track 2, track 3

In The Book of Urizen - Jacob de Haan zijn eerste symfonie voor harmonieorkest, zangstem (sopraan) en een mannelijke spreekstem - wordt gebruik gemaakt van geluidscollages. De compositie is ge nspireerd op het gelijknamigegedicht van William Blake (1757-1827). The Vision, het eerste deel en The Creation, het tweede deel van The Book of Urizen zijn beschikbaar via volgend editienummer: DHP 1043551. The Web, het derdedeel van The Book of Urizen is verkrijgbaar via editienummer: DHP 1125252. Download audiofragmenten hier: track 1, track 2, track 3

The Book of Urizen ist Jacob de Haan seine erste Symphonie für Blasorchester, Gesang (Sopran) und (männliche) Sprechstimme, in welcher Botschaften durch Geräuschcollagen wiedergegeben werden. Als Inspirationsquelle dienteder gleichnamige Gedichtzyklus des großen englischen Dichters und Malers William Blake (1757-1827). The Vision, erster Satz und The Creation, zweiter Satz von The Book of Urizen sind unter der folgendenEditionsnummer erhältlich: DHP 1043551. The Web, der dritte Satz von The Book of Urizen , ist unter der folgenden Editionsnummer erhältlich: DHP 1125252. Laden Sie hier die Audiosamples herunter: track 1, track 2,track 3

En 1794, l’écrivain, peintre, graveur, enlumineur, visionnaire et philosophe mystique anglais William Blake (1757-1827) dénonce dans The Book of Urizen (Le Livre d’Urizen), la loi de fer du monde moderne. Dans The Book ofUrizen - la première symphonie de Jacob de Haan pour Orchestre d’Harmonie, Soprano et un récitant - des collages sonores sont utilisés. The Vision, la première partie et The Creation, la deuxième partie de TheBook of Urizen sont disponibles sous le numéro d'éditionsuivant: DHP 1043551. The Web, la troisième partie de The Book of Urizen est disponible sous le numéro d'édition suivant: DHP 1125252. Télécharger lesextraits audio ici: track 1, track 2, track 3

The Book of Urizen is a work for concert band, solo soprano, and a male narrator in which sound collages of religious expressions are used. The piece is inspired by the compelling visionary poem of the same name (which the poet illustratedhimself) by the Englishman William Blake (1757-1827), who occupies a unique position in western literature and the visual arts. He was not just a poet and a writer, but he was also a graphic artist, a painter, an illustrator, a spiritualist, areligious visionary, and a mystic philosopher. For the performance of this work, a professional sound system, including two microphones and a CD player, is needed. The three sound collages are three separate tracks on the enclosed CD and can beplayed easily at the right moment. The Book of Urizen bears resemblance to Genesis and Exodus, of which the contents form the basis of the Christian, Jewish, and Islamic faith. Blake adhered to the principle that all religions are in fact one,and that deities reside in human beings. In The Book of Urizen this is represented in “The Net of Religion,” which is spanned over the earth by Urizen. The sound collages, compiled by Jacob de Haan in the studio, find their origin inJerusalem, the Holy City, where the afore-mentioned faiths “come together.” In the first movement of this composition, The Vision, Urizen prepares his vision of the world, and he presents this to the “Eternals.” His vision is rejected,and Urizen locks himself up in his own abstract world. When he does emerge again, he is confronted with rage by the gathered Eternals. Urizen flees the wrath of the Eternals, “the flames of eternal fury,” and enwombs himself in his own world. Whenthe Eternals see Urizen in his “stony sleep,” they wonder if this is death. The blacksmith Los is torn by grief because of the isolation of Urizen. It brings him to rouse his fires, prepare his forge, and to give Urizen’s world concrete form. In thesecond movement, The Creation, Urizen’s world, but also man, woman, and child are created. Los is horrified with the appearance of Urizen’s body. He mourns and pities Urizen, and from his blood a female form comes into being, with thename Enitharmon. The Eternals, fearful of the female form, decide to erect a tent to obstruct their view to eternity. Enitharmon and Los beget a son, called Orc. Los baptizes him as a child of the “fallen world.” Orc is fed at Enitharmon’s breast,which makes a girdle of jealousy restrict Los’ chest. He takes the child to the top of the mountain and chains him down. The cries of Orc awaken Urizen, who explores his world creating instruments of scientific measurement to do so. Los encircles theface of Enitharmon from the sight of Urizen and Orc. She then populates the earth by giving birth to an enormous race.The Web, third movement of The Book of Urizen is now available: DHP 1125252

By Gayle Kowalchyk/E. L. Lancaster. Keyboard. Level: Elementary (1B). Published by Alfred Publishing. Designed for use by students who need additional reinforcement in reading music in the bass clef. Basic Bass Clef is especially useful for vocalists and instrumentalists who are beginning piano study and have some knowledge of treble clef and rhythmic notation. Each lesson contains a combination of written and playing exercises.

Composed by Mary Donnelly. Arranged by George L.O. Strid. Choral. Octavo. Heritage Music Press #15/3542H. Published by Heritage Music Press

Guitar Chords with Lyrics Guitar

SKU: HL.1477747

By Taylor Swift. Guitar. Pop. Softcover. Published by Hal Leonard (HL.1477747).

ISBN 9798350128512. UPC: 196288215035. 9.0x12.0x0.277 inches.

You've memorized all the songs from the double album, now it's time to play them for yourself! Our matching folio to The Tortured Poets Department: The Anthology features all 31 tracks meticulously arranged for guitar, with chord symbols, guitar chord frames, and full lyrics. Dive into the emotional depth of Swift's music and play along with your favorite tracks from “Fortnight” to “The Manuscript,” to “So Long, London” to “So High School,” and all the others. Immerse yourself in the storytelling prowess of Taylor Swift and bring her songs to life with your own unique voice and talent! Songs include: The Albatross • The Alchemy • The Black Dog • The Bolter • But Daddy I Love Him • Cassandra • Chloe or Sam or Sophia or Marcus • Clara Bow • Down Bad • Florida!!! • Fortnight • Fresh Out the Slammer • Guilty as Sin? • How Did It End? • I Can Do It with a Broken Heart • I Can Fix Him (No Really I Can) • I Hate It Here • I Look in People's Windows • Imgonnagetyouback • Loml • The Manuscript • My Boy Only Breaks His Favorite Toys • Peter • The Prophecy • Robin • The Smallest Man Who Ever Lived • So High School • So Long, London • thanK you aIMee • The Tortured Poets Department • Who's Afraid of Little Old Me?

Inclusive Songs for Whole- Group Singing. Composed by Catherine De Sybel, Gareth Malone, and Gary Barlow. Choral. Choral Resources, Resource. Softcover Audio Online. 88 pages. Published by Hal Leonard

(Featuring: Love Is Here to Stay / Let's Call the Whole Thing Off / Someone to Watch Over Me / 'S Wonderful / Nice Work If You Can Get It / Embraceable You / I Got Rhythm). Composed by George and Ira Gershwin. Arranged by Jay Althouse. Choir Secular. For SoundPax. This edition: SoundPax. Choral Octavo; Part(s). Pop Choral. Form: Medley. Masterwork Arrangement; Secular; Standard. 36 pages. Published by Alfred Music

By Benjamin Hanby. Arranged by Richard Phillips. Brass Band. For Brass Band. An imaginative Christmas setting. Christmas. Easy. Score and parts. Standard Notation. Duration 4:45