(A collection of 3 novelty ensembles). By Chris Crockarell and Chris Brooks. For...(+)
(A collection of 3
novelty ensembles). By
Chris Crockarell and
Chris Brooks. For concert
percussion ensemble.
Grade 1. Duration 5:23.
Published by Row-Loff
Publications
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
(Christmas Carols For Mixed Voices) Edited by Graham Buckland. For SATB choir (u...(+)
(Christmas Carols For
Mixed Voices) Edited by
Graham Buckland. For SATB
choir (unaccompanied).
Format: a capella
songbook. With choral
notation, lyrics,
performance notes,
introductory text and
index of first lines.
Christmas and holiday.
224 pages. 9x12 inches.
Published by
Baerenreiter-Ausgaben.
Composed by George Frederic Handel (1685-1759). 1741. Orchestral part for second...(+)
Composed by George
Frederic Handel
(1685-1759). 1741.
Orchestral part for
second violin. With
standard notation and
vocal cues. 41 pages.
Published by G. Schirmer,
Inc.
(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
A cello method for children age four and older. Composed by Egon Saßmannshaus...(+)
A cello method for
children
age four and older.
Composed
by Egon Saßmannshaus and
Kurt
Sassmannshaus. Stapled.
With a
Chinese text booklet.
Performance score.
Baerenreiter Verlag
#BA10756.
Published by Baerenreiter
Verlag
Composed
by Ash Pournouri, Avicii,
Etta James, Leroy
Kirkland, and Pearl
Woods. Edited by Hans
Vainikainen. Arranged by
Hans Vainikainen.
Stapled. Choral score. 12
pages. Baerenreiter
Verlag #BA11397_00.
Published by Baerenreiter
Verlag (BA.BA11397).
ISBN 9790006568598.
39.7 x 21 cm inches. Text
Language: English. Text:
Bergling, Tim / James,
Etta / Woods, Pearl /
Kirkland, Leroy /
Pournouri,
Ash.
“Oh,
sometimes I get a good
feeling, yeah Get a
feeling that I never,
never, never, never had
before
…â€
In
its original form,
“Levels†is
more of an instrumental
number featuring a short
passage from a song by
soul-singer Etta James.
The energy of this
exhilarating electro-pop
piece with the inimitable
Avicii sound is an
ear-catching delight and
brings audiences to their
feet: a good time is
guaranteed!
Th
e editor:
Hans
Vainikainen (b. 1976)
hails from a new
generation of conductors
in the Swedish choral
tradition. His conducting
repertoire covers a wide
range of genres and eras,
from Mahler’s
Eighth Symphony to the
Swedish DJ Avicii. In
2005 he won the Swedish
Conductors’ Prize,
and two years later he
was appointed artistic
director of the Katarina
kyrka, the home of
Katarinakörerna, one
of Sweden’s
largest choral
societies.
Hans
Vainikainen heads
Stockholm’s
Katarinakörerna with
more than 500 singers in
various combinations.
Their programmes cover
both sacred and secular
music. In his search for
suitable arrangements,
his eye fell on one the
world’s best-known
pop artists, Tim
Bergling, known
professionally as Avicii.
He then arranged three of
Avicii’s best
songs for classical
choirs, intending them to
be encore
pieces.
“Hey
Brotherâ€,
“Levels†and
“Without youâ€
are now available for
six-part mixed or female
choir. The arrangements
offer a wide variety of
vocal and choral
possibilities and
attention has been paid
that all parts are of the
same musical standard.
Whether homophonic or
unisono, they artfully
intertwine from one
passage to the next.
However, for all their
sophistication the
arrangements remain
manageable and easy to
learn, displaying the
typical groove of each
Avicii song within a
multi-layered
texture.
Composed
by Ash Pournouri, Avicii,
Salem Al Fakir, Veronica
Maggio, and Vincent
Pontare. Edited by Hans
Vainikainen. Arranged by
Hans Vainikainen.
Stapled. Choral score. 11
pages. Baerenreiter
Verlag #BA11395_00.
Published by Baerenreiter
Verlag (BA.BA11395).
ISBN 9790006568574.
29.7 x 21 cm inches. Text
Language: English. Text:
Al Fakir, Salem / Maggio,
Veronica / Pontare,
Vincent / Bergling, Tim /
Pournouri,
Ash.
“Hey
brother! There's an
endless road to
rediscover Hey sister!
Know the water's sweet
but blood is thicker
…â€
â
œIf the sky comes
falling down, for you /
There’s nothing in
this world I
wouldn’t
doâ€. The subject of
this energetic,
life-affirming hit is
being there for one
another. Whether sung by
female or mixed choirs,
the fanfare-like theme is
equally powerful and will
keep the audience tapping
their
feet.
The
editor:
Hans
Vainikainen (b. 1976)
hails from a new
generation of conductors
in the Swedish choral
tradition. His conducting
repertoire covers a wide
range of genres and eras,
from Mahler’s
Eighth Symphony to the
Swedish DJ Avicii. In
2005 he won the Swedish
Conductors’ Prize,
and two years later he
was appointed artistic
director of the Katarina
kyrka, the home of
Katarinakörerna, one
of Sweden’s
largest choral
societies.
Hans
Vainikainen heads
Stockholm’s
Katarinakörerna with
more than 500 singers in
various combinations.
Their programmes cover
both sacred and secular
music. In his search for
suitable arrangements,
his eye fell on one the
world’s best-known
pop artists, Tim
Bergling, known
professionally as Avicii.
He then arranged three of
Avicii’s best
songs for classical
choirs, intending them to
be encore
pieces.
“Hey
Brotherâ€,
“Levels†and
“Without youâ€
are now available for
six-part mixed or female
choir. The arrangements
offer a wide variety of
vocal and choral
possibilities and
attention has been paid
that all parts are of the
same musical standard.
Whether homophonic or
unisono, they artfully
intertwine from one
passage to the next.
However, for all their
sophistication the
arrangements remain
manageable and easy to
learn, displaying the
typical groove of each
Avicii song within a
multi-layered
texture.
Composed
by Ash Pournouri, Avicii,
Salem Al Fakir, Veronica
Maggio, and Vincent
Pontare. Edited by Hans
Vainikainen. Arranged by
Hans Vainikainen.
Stapled. Choral score. 10
pages. Baerenreiter
Verlag #BA11394_00.
Published by Baerenreiter
Verlag (BA.BA11394).
ISBN 9790006568567. 30
x 21.5 cm inches. Text
Language: English. Text:
Al Fakir, Salem / Maggio,
Veronica / Pontare,
Vincent / Bergling, Tim /
Pournouri,
Ash.
“Hey
brother! There's an
endless road to
rediscover Hey sister!
Know the water's sweet
but blood is thicker
…â€
â
œIf the sky comes
falling down, for you /
There’s nothing in
this world I
wouldn’t
doâ€. The subject of
this energetic,
life-affirming hit is
being there for one
another. Whether sung by
female or mixed choirs,
the fanfare-like theme is
equally powerful and will
keep the audience tapping
their
feet.
The
editor:
Hans
Vainikainen (b. 1976)
hails from a new
generation of conductors
in the Swedish choral
tradition. His conducting
repertoire covers a wide
range of genres and eras,
from Mahler’s
Eighth Symphony to the
Swedish DJ Avicii. In
2005 he won the Swedish
Conductors’ Prize,
and two years later he
was appointed artistic
director of the Katarina
kyrka, the home of
Katarinakörerna, one
of Sweden’s
largest choral
societies.
Hans
Vainikainen heads
Stockholm’s
Katarinakörerna with
more than 500 singers in
various combinations.
Their programmes cover
both sacred and secular
music. In his search for
suitable arrangements,
his eye fell on one the
world’s best-known
pop artists, Tim
Bergling, known
professionally as Avicii.
He then arranged three of
Avicii’s best
songs for classical
choirs, intending them to
be encore
pieces.
“Hey
Brotherâ€,
“Levels†and
“Without youâ€
are now available for
six-part mixed or female
choir. The arrangements
offer a wide variety of
vocal and choral
possibilities and
attention has been paid
that all parts are of the
same musical standard.
Whether homophonic or
unisono, they artfully
intertwine from one
passage to the next.
However, for all their
sophistication the
arrangements remain
manageable and easy to
learn, displaying the
typical groove of each
Avicii song within a
multi-layered
texture.
Choral SATB choir SKU: CF.CM9700 Composed by Hungarian Folk. Arranged by ...(+)
Choral SATB choir
SKU:
CF.CM9700
Composed by
Hungarian Folk. Arranged
by Stacy Garrop. 20
pages. Duration 4:44.
Carl Fischer Music
#CM9700. Published by
Carl Fischer Music
(CF.CM9700).
ISBN
9781491160008. UPC:
680160918607. Key: A
minor. Hungarian.
Hungarian Folk.
In
2014, Chanticleer
commissioned me to make a
new arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one's homeland, a place
where the singer can
never return. Chanticleer
consists of twelve men
whose vocal ranges span
from low bass to high
soprano, equivalent to
the range of a mixed
choir of women and men. I
composed slow sections of
original material to
represent the singers'
longing to return home;
these are interspersed
with the folk song's
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer version.
PERFORMANCE NOTES All
spoken sounds (indicated
by x noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music. If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the end. TEXT
Transliteration Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa. Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat. O mers mama de pe
sat, O lasat coliba
goala, Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa. Jarba, mare
jarba mas duce a casa, da
nu pot ca am jurat.
Translation Green grass,
tall grass, I would like
to go home, but I cannot,
because I have sworn not
to. Tall grass, green
grass - oh, that I cannot
go home! My mother has
left the village; she
left the hut empty,
Adorned with leaves but
full of poverty. Tall
grass, green grass - oh,
that I cannot go home!
Tall grass, green grass -
I would like to go home.
but I cannot, because I
have sworn not to. Stacy
Garrop's music is
centered on dramatic and
lyrical storytelling. The
sharing of stories is a
defining element of our
humanity; we strive to
share with others the
experiences and concepts
that we find compelling.
She shares stories by
taking audiences on sonic
journeys - some simple
and beautiful, while
others are complicated
and dark - depending on
the needs and dramatic
shape of the story.
Garrop served as the
first Emerging Opera
Composer of Chicago Opera
Theater's Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received numerous
awards and grants
including an Arts and
Letters Award in Music
from the American Academy
of Arts and Letters,
Fromm Music Foundation
Grant, Barlow Prize, and
three Barlow Endowment
commissions, along with
prizes from competitions
sponsored by the Detroit
Symphony Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels. Her catalog
covers a wide range, with
works for orchestra,
opera, oratorio, wind
ensemble, choir, art
song, various sized
chamber ensembles, and
works for solo
instruments. Notable
commissions include My
Dearest Ruth for soprano
and piano with text by
Martin Ginsburg, the
husband of the late
Supreme Court Justice
Ruth Bader Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for the
Kronos Quartet, Give Me
Hunger for Chanticleer,
Rites for the Afterlife
for the Akropolis and
Calefax Reed Quintets,
and Terra Nostra: an
oratorio about our
planet, commissioned by
the San Francisco Choral
Society and Piedmont East
Bay Children's Chorus.
Garrop previously served
as composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.). In 2014,
Chanticleer commissioned
me to make a new
arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one’s homeland, a
place where the singer
can never return.
Chanticleer consists of
twelve men whose vocal
ranges span from low bass
to high soprano,
equivalent to the range
of a mixed choir of women
and men. I composed slow
sections of original
material to represent the
singers’ longing
to return home; these are
interspersed with the
folk song’s
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer
version.PERFORMANCE
NOTESAll spoken sounds
(indicated by x
noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music.If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the
end.TEXTTransliterationJa
rba, mare jarba mas duce
a casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa.Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat.O mers mama de pe
sat, O lasat coliba
goala,Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa.Jarba, mare
jarba mas duce a casa, da
nu pot ca am
jurat.TranslationGreen
grass, tall grass, I
would like to go home,
but I cannot, because I
have sworn not to.Tall
grass, green grass
– oh, that I
cannot go home!My mother
has left the village; she
left the hut empty,
Adorned with leaves but
full of poverty.Tall
grass, green grass
– oh, that I
cannot go home! Tall
grass, green grass
– I would like to
go home.but I cannot,
because I have sworn not
to.Stacy Garrop’s
music is centered on
dramatic and lyrical
storytelling. The sharing
of stories is a defining
element of our humanity;
we strive to share with
others the experiences
and concepts that we find
compelling. She shares
stories by taking
audiences on sonic
journeys – some
simple and beautiful,
while others are
complicated and dark
– depending on the
needs and dramatic shape
of the story.Garrop
served as the first
Emerging Opera Composer
of Chicago Opera
Theater’s Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received
numerous awards and
grants including an
Arts and Letters Award in
Music from the American
Academy of Arts and
Letters, Fromm Music
Foundation Grant, Barlow
Prize, and three Barlow
Endowment commissions,
along with prizes from
competitions sponsored by
the Detroit Symphony
Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels.Her catalog covers
a wide range, with works
for orchestra, opera,
oratorio, wind ensemble,
choir, art song, various
sized chamber ensembles,
and works for solo
instruments. Notable
commissions include My
Dearest Ruth for
soprano and piano with
text by Martin Ginsburg,
the husband of the late
Supreme Court Justice
Ruth Bader
Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for
the Kronos Quartet, Give
Me Hunger for
Chanticleer, Rites for
the Afterlife for the
Akropolis and Calefax
Reed Quintets,
and Terra
Nostra:Â an oratorio
about our planet,
commissioned by the San
Francisco Choral Society
and Piedmont East Bay
Children’s
Chorus.Garrop previously
served as
composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.).ÂÂ.
All the While Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Concert Band - Grade 2 SKU: CF.YPS198F Composed by Tyler Arcari. You...(+)
Band Concert Band - Grade
2
SKU: CF.YPS198F
Composed by Tyler Arcari.
Young Band (YPS). Full
score. With Standard
notation. 16 pages. Carl
Fischer Music #YPS198F.
Published by Carl Fischer
Music (CF.YPS198F).
ISBN 9781491152867.
UPC:
680160910366.
All
the While was inspired
by a very special person
in Tyler Arcari's life.
Director's will be happy
to find many
opportunities for
emotional and passionate
playing with plenty of
fun in the middle for
young bands. All the
While gives students a
number of chances to
work on expressive
playing during the
beginning and ending
sections, and offers a
light rhythmic middle
section for
contrast. Program
Notes:All the While is a
bit of a personal piece
for me. I was inspired to
write it by a very
special person in my
life. It might be a
young-band piece but I
feel that it has the
capacity for great
emotion and passionate
playing as well as a
little fun in the middle.
Sometimes it is difficult
to tell people how you
feel, even if you have
known them for a long
time. I think sometimes
we say in our heads that
“I have felt this
way for a long
time,†and all the
while never being able to
put it to words.About the
work:The piece opens with
a flute and alto
saxophone duet. This
melody trades off at m.
10 with the addition of
new voices and harmonies
building in intensity all
the way to m. 28. I
personally like to use
extended phrases in this
section, though it looks
like it would just
utilize four-measure
phrases. I feel this adds
to the momentum building
in dynamic intensity.
Measure 28 is a subito
change beginning with a
prominent Timpani solo.
The following section
should be played as
lightly as possible to
avoid a lumbering feel.
In mm. 68- 70, the agogic
accents should not be
very heavy, but more
pointed in their momentum
to m. 70.Measures
70–76 should be
taken with metric liberty
bringing out all of the
moving parts in the low
brass. The low brass
really adds the
foundation of momentum
for the rest of the band
here. Measure 76 to the
end, though a repetition
of material from the
beginning, should be
played as the high point
of the piece and familiar
conclusion.
All the While Orchestre d'harmonie - Facile Carl Fischer
Band Concert Band - Grade 2 SKU: CF.YPS198 Composed by Tyler Arcari. Youn...(+)
Band Concert Band - Grade
2
SKU: CF.YPS198
Composed by Tyler Arcari.
Young Band (YPS). Set of
Score and Parts. With
Standard notation.
8+2+8+8+2+4+10+4+2+4+4+8+
12+6+3+1+1+4+2+16+4
pages. Duration 2
minutes, 14 seconds. Carl
Fischer Music #YPS198.
Published by Carl Fischer
Music (CF.YPS198).
ISBN 9781491152188.
UPC: 680160909681. Key: C
minor.
All the
While was inspired by
a very special person in
Tyler Arcari's life.
Directors will be happy
to find many
opportunities for
emotional and passionate
playing with plenty of
fun in the middle for
young bands. All the
While gives students a
number of chances to
work on expressive
playing during the
beginning and ending
sections, and offers a
light rhythmic middle
section for
contrast. Program
Notes:All the While is a
bit of a personal piece
for me. I was inspired to
write it by a very
special person in my
life. It might be a
young-band piece but I
feel that it has the
capacity for great
emotion and passionate
playing as well as a
little fun in the middle.
Sometimes it is difficult
to tell people how you
feel, even if you have
known them for a long
time. I think sometimes
we say in our heads that
“I have felt this
way for a long
time,†and all the
while never being able to
put it to words.About the
work:The piece opens with
a flute and alto
saxophone duet. This
melody trades off at m.
10 with the addition of
new voices and harmonies
building in intensity all
the way to m. 28. I
personally like to use
extended phrases in this
section, though it looks
like it would just
utilize four-measure
phrases. I feel this adds
to the momentum building
in dynamic intensity.
Measure 28 is a subito
change beginning with a
prominent Timpani solo.
The following section
should be played as
lightly as possible to
avoid a lumbering feel.
In mm. 68- 70, the agogic
accents should not be
very heavy, but more
pointed in their momentum
to m. 70.Measures
70–76 should be
taken with metric liberty
bringing out all of the
moving parts in the low
brass. The low brass
really adds the
foundation of momentum
for the rest of the band
here. Measure 76 to the
end, though a repetition
of material from the
beginning, should be
played as the high point
of the piece and familiar
conclusion.
By George Frideric Handel. For SATB Choir, Piano Accompaniment. Baroque, Sacred,...(+)
By George Frideric
Handel. For SATB Choir,
Piano Accompaniment.
Baroque, Sacred, Choral,
Religious. Sheet Music.
264 pages. Published by
Novello and Co Ltd.
(A sacred oratorio). By George Frideric Handel (1685-1759). Edited by Watkins Sh...(+)
(A sacred oratorio). By
George Frideric Handel
(1685-1759). Edited by
Watkins Shaw. For soprano
solo voice, alto solo
voice, tenor solo voice,
bass solo voice, SATB
choir and piano
accompaniment. Novello
Handel Edition. Baroque,
Choral, Christmas and
Easter. Difficulty:
medium. Vocal score
(paperback). Choral
notation and piano
reduction. 257 pages.
Published by Novello and
Co Ltd
(Everything You Need to Know to Start Playing the Guitar!). By Morty Manus and R...(+)
(Everything You Need to
Know to Start Playing the
Guitar!). By Morty Manus
and Ron Manus. For
Guitar. This edition:
Book, DVD, Manuscript
Paper, Digital Tuner &
Guitar Picks. Book; DVD;
Guitar Method or
Supplement;
Method/Instruction. Teach
Yourself Series.
Beginner. Published by
Alfred Music