Performed by The Beatles. For voice(s), guitar(s), bass guitar, drum set and key...(+)
Performed by The Beatles.
For voice(s), guitar(s),
bass guitar, drum set and
keyboard. Format: full
score. With vocal melody,
lyrics, standard guitar
notation, guitar
tablature, standard bass
notation, bass tablature,
chord names and drum
notation. Classic rock,
pop rock and psychedelic
rock. Popular boxed gift
set. Includes complete
transcriptions of all
instrumental and vocal
parts. Series: Hal
Leonard Transcribed
Scores. 1136 pages.
7.25x10.88 inches.
Published by Hal Leonard.
Performed by The Beatles. For voice and guitar (no tablature - lyrics & chords o...(+)
Performed by The Beatles.
For voice and guitar (no
tablature - lyrics &
chords only). Format:
guitar/vocal songbook.
With lyrics, chord names
and guitar chord
diagrams. Classic rock,
britpop and psychedelic
rock. 399 pages.
6.75x9.75 inches.
Published by Hal Leonard.
The Songs of Lennon, McCartney, Harrison and Starr. Performed by The Beatles. Ly...(+)
The Songs of Lennon,
McCartney, Harrison and
Starr. Performed by The
Beatles. Lyrics only.
Complete lyrics to every
song ever recorded by The
Beatles. Size 7x10
inches. 256 pages.
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
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 .
A Must-Have Collection of Well-Known Songs Arranged for Virbraphone!. Composed...(+)
A Must-Have Collection of
Well-Known Songs Arranged
for Virbraphone!.
Composed
by Various. Percussion.
Pop,
Standards. Softcover.
Published by Hal Leonard
50 Classics from the Great American Songbook. Composed by various artists and ...(+)
50 Classics from the
Great
American Songbook.
Composed
by various artists and
composers and various
artists
and composers. This
edition:
Easy Hits Ukulele. Book;
Ukulele Mixed Folio.
Alfred's
Easy. Jazz; Standard. 96
pages. Published by
Alfred
Music
50 Classics from the Great American Songbook. Composed by various artists an...(+)
50 Classics from the
Great
American Songbook.
Composed
by various artists and
composers and various
artists and composers.
This
edition: Easy Hits Piano.
Book; P/V/C Mixed Folio;
Piano/Vocal/Chords.
Alfred's
Easy. Jazz; Standard. 144
pages. Published by
Alfred
Music
50 Classics from the Great American Songbook. Composed by various artists and ...(+)
50 Classics from the
Great
American Songbook.
Composed
by various artists and
composers and various
artists
and composers. This
edition:
Easy Hits Guitar TAB.
Book;
Guitar Mixed Folio;
Guitar
TAB. Alfred's Easy. Jazz;
Standard. 120 pages.
Published by Alfred Music
Fakebook (spiral bound) for Eb instrument and voice. With vocal melody, lyrics, ...(+)
Fakebook (spiral bound)
for Eb instrument and
voice. With vocal melody,
lyrics, chord names,
black and white photos
and introductory text.
574 pages. Published by
Sher Music Company.
Fakebook (spiral bound) for Bb instrument and voice. With vocal melody, lyrics, ...(+)
Fakebook (spiral bound)
for Bb instrument and
voice. With vocal melody,
lyrics, chord names,
black and white photos
and introductory text.
574 pages. Published by
Sher Music Company.
Lap Steel Guitar SKU: HL.1136474 By Various. Guitar. Country, Pop. Softco...(+)
Lap Steel Guitar
SKU:
HL.1136474
By
Various. Guitar. Country,
Pop. Softcover. 96 pages.
Published by Hal Leonard
(HL.1136474).
ISBN
9781705183250. UPC:
196288113492.
9.0x12.0x0.237
inches.
This
one-of-a-kind collection
arranged by Fred Sokolow
features accessible,
must-know songs for
anyone ready to start
playing lap steel guitar,
or any player wanting to
expand their repertoire.
Each song is presented in
a combination of tab,
standard notation,
chords, and lyrics for
the most popular songs
lap steel players like to
play. This collection
features songs in several
tunings, including open
G, open E and C6, in
these genres: country,
Hawaiian, Western swing,
rock/pop, folk, and
blues. It also includes
many transcriptions of
solos by famous steel
players. Songs include:
Back in the Saddle Again
â?¢ Blue Eyes Crying in
the Rain â?¢ Can't Help
Falling in Love â?¢
Crazy â?¢ Faded Love
â?¢ Happy Trails â?¢
I'm So Lonesome I Could
Cry â?¢ Mama Tried
â?¢ (Ghost) Riders in
the Sky (A Cowboy Legend)
â?¢ Together Again
â?¢ Waikiki â?¢
Walkin' After Midnight
â?¢ Won't You Ride in
My Little Red Wagon â?¢
Your Cheatin' Heart â?¢
and more.
About First
50
You've
been taking lessons,
you've got a few chords
under your belt, and
you're ready to buy a
songbook. Now what? Hal
Leonard has the answers
in its First 50 series.
The First 50 series
steers new players in the
right direction. These
books contain easy to
intermediate arrangements
for must-know songs. Each
arrangement is simple and
streamlined, yet still
captures the essence of
the tune.
Composed
by Lowell Liebermann.
Full score. Duration 15
minutes. Theodore Presser
Company #116-41139S.
Published by Theodore
Presser Company
(PR.11641139S).
UPC:
680160682119.
Barca
rolles for a Sinking City
was inspired by the city
of Venice, a place that
has long held the
fascination of artists,
writers and composers,
and which I have been
lucky enough to visit on
several occasions. Sadly
it seems that future
generations may not be so
lucky: in addition to the
city's slow sinking and
recently discovered
tilting, studies predict
that if global warming
and the resultant rise of
ocean levels is unabated,
the entire city (as well
as many other coastal
cities around the globe)
will be under water by
2100. I. Funeral
Gondola The late, cryptic
piano works of Franz
Liszt made a profound
impression on me as a
young composer, among
them two works he
entitled La Lugubre
Gondola (usually
translated as The Funeral
Gondola ) which were said
to be a premonition of
Wagner's death in Venice,
his coffin transported
through the canals in a
black gondola. These late
pieces of Liszt acquired
even greater significance
to me after I spent two
summers in Bayreuth under
the patronage of
Friedelind Wagner, the
granddaughter of Wagner
and great-granddaughter
of Liszt. This movement
is a meditation on
Wagner, Liszt, Venice and
its own evanescence. II.
Barcarolle/Quodlibet The
Quodlibet (Latin for what
pleases) is a musical
form dating back to the
15th century where many
disparate melodies are
juxtaposed. Popular in
the Renaissance, sacred
and secular melodies were
combined, often to
comical effect due to the
resultant incongruity of
the words. The form was
considered the ultimate
test of a composer's
mastery of counterpoint.
The most famous Quodlibet
is without doubt the
final Variation of Bach's
Goldberg Variations. As a
form the Quodlibet is
less common in more
recent music, although
examples can be found in
the works of Kurt Weill
and David Del Tredici.
My own
Barcarolle/Quodlibet was
inspired by the (perhaps
apocryphal) story of the
funeral where musicians
were asked to play a Bach
Choral, but due to
miscommunication played
instead the Bacarolle
from The Tales of
Hoffmann. Here, the Bach
Choral Allen Menschen
mussen sterben (All Men
Must Die) is heard in the
strings pizzicato, with a
tempo indication In slow
motion. The alto line of
the Bach suggests a
phrase from Beethoven's
Ninth Symphony (Alle
Menchen werden Bruder)
heard in the muted
trombone. Before long,
the famous tune from
Offenbach's opera is
heard, followed by
quotations from iconic
Barcarolles by Chopin,
Mendelssohn and Faure, as
well as two Venetian
popular songs and more
Beethoven. III.
Barcarola/Ostinato/Carill
on An ostinato is a
repeated musical figure,
and carillon is Italian
for music box. This
movement references the
obsolete genre of salon
pieces that imitated
music boxes: such works
by composers like Liadov
and Gretchaninov used to
be a mainstay of
pianists' encore
repertoire. This movement
is however much darker in
conception than those
pleasant trifles.
Utilizing the full
battery of percussion,
the carefully notated
temporal slowing of the
ostinato becomes
overwhelmed by a poignant
chorale melody before
this box is snapped shut.
IV. Barcarolle
Oubliee (Forgotten
Barcarolle) Marked
limpido (still) the final
movement begins with the
sound of rain produced by
a percussion instrument
called (appropriately) a
rain stick. Halting
phrases in the harp
coalesce into the
accompaniment for a
plangent melody heard in
the clarinet. The central
Adagio of this movement
leads to a shattering
climax, before the
opening phrases return
and dissipate into
nothingness.
Composed
by Lowell Liebermann.
Large Score. Duration 15
minutes. Theodore Presser
Company #116-41139L.
Published by Theodore
Presser Company
(PR.11641139L).
UPC:
680160682126.
Barca
rolles for a Sinking City
was inspired by the city
of Venice, a place that
has long held the
fascination of artists,
writers and composers,
and which I have been
lucky enough to visit on
several occasions. Sadly
it seems that future
generations may not be so
lucky: in addition to the
city's slow sinking and
recently discovered
tilting, studies predict
that if global warming
and the resultant rise of
ocean levels is unabated,
the entire city (as well
as many other coastal
cities around the globe)
will be under water by
2100. I. Funeral
Gondola The late, cryptic
piano works of Franz
Liszt made a profound
impression on me as a
young composer, among
them two works he
entitled La Lugubre
Gondola (usually
translated as The Funeral
Gondola ) which were said
to be a premonition of
Wagner's death in Venice,
his coffin transported
through the canals in a
black gondola. These late
pieces of Liszt acquired
even greater significance
to me after I spent two
summers in Bayreuth under
the patronage of
Friedelind Wagner, the
granddaughter of Wagner
and great-granddaughter
of Liszt. This movement
is a meditation on
Wagner, Liszt, Venice and
its own evanescence. II.
Barcarolle/Quodlibet The
Quodlibet (Latin for what
pleases) is a musical
form dating back to the
15th century where many
disparate melodies are
juxtaposed. Popular in
the Renaissance, sacred
and secular melodies were
combined, often to
comical effect due to the
resultant incongruity of
the words. The form was
considered the ultimate
test of a composer's
mastery of counterpoint.
The most famous Quodlibet
is without doubt the
final Variation of Bach's
Goldberg Variations. As a
form the Quodlibet is
less common in more
recent music, although
examples can be found in
the works of Kurt Weill
and David Del Tredici.
My own
Barcarolle/Quodlibet was
inspired by the (perhaps
apocryphal) story of the
funeral where musicians
were asked to play a Bach
Choral, but due to
miscommunication played
instead the Bacarolle
from The Tales of
Hoffmann. Here, the Bach
Choral Allen Menschen
mussen sterben (All Men
Must Die) is heard in the
strings pizzicato, with a
tempo indication In slow
motion. The alto line of
the Bach suggests a
phrase from Beethoven's
Ninth Symphony (Alle
Menchen werden Bruder)
heard in the muted
trombone. Before long,
the famous tune from
Offenbach's opera is
heard, followed by
quotations from iconic
Barcarolles by Chopin,
Mendelssohn and Faure, as
well as two Venetian
popular songs and more
Beethoven. III.
Barcarola/Ostinato/Carill
on An ostinato is a
repeated musical figure,
and carillon is Italian
for music box. This
movement references the
obsolete genre of salon
pieces that imitated
music boxes: such works
by composers like Liadov
and Gretchaninov used to
be a mainstay of
pianists' encore
repertoire. This movement
is however much darker in
conception than those
pleasant trifles.
Utilizing the full
battery of percussion,
the carefully notated
temporal slowing of the
ostinato becomes
overwhelmed by a poignant
chorale melody before
this box is snapped shut.
IV. Barcarolle
Oubliee (Forgotten
Barcarolle) Marked
limpido (still) the final
movement begins with the
sound of rain produced by
a percussion instrument
called (appropriately) a
rain stick. Halting
phrases in the harp
coalesce into the
accompaniment for a
plangent melody heard in
the clarinet. The central
Adagio of this movement
leads to a shattering
climax, before the
opening phrases return
and dissipate into
nothingness.
Easy Piano Piano/Keyboard SKU: HL.282475 The New Decade Series. Co...(+)
Easy Piano Piano/Keyboard
SKU: HL.282475
The New Decade
Series. Composed by
Various. Easy Piano
Songbook. Standards.
Softcover. 360 pages.
Published by Hal Leonard
(HL.282475).
ISBN
9781540034328. UPC:
888680789190.
9.0x12.0x0.847
inches.
Music is
what helped many keep
their spirits up during
the Great Depression in
the 1930s. Here are 100
of the most memorable
songs of the decade
presented in easy piano
arrangements with lyrics.
Songs include: As Time
Goes By * Blue Moon *
Body and Soul *
Embraceable You * Georgia
on My Mind * The Glory of
Love * How Deep Is the
Ocean (How High Is the
Sky) * I Don't Know Why
(I Just Do) * I Got
Rhythm * I'll Be Seeing
You * In the Mood * The
Lady Is a Tramp * Love Is
Here to Stay * Mood
Indigo * My Funny
Valentine * The Nearness
of You * Over the Rainbow
* Sing, Sing, Sing *
Summertime * Thanks for
the Memory * The Very
Thought of You * The Way
You Look Tonight * and
more.
(A Treasury of Songs from Stage and Film, Specially Designed for Teen Singers! I...(+)
(A Treasury of Songs from
Stage and Film, Specially
Designed for Teen
Singers! Includes Story
Synopsis, Song Set-up,
Audition Tips and 16-Bar
Cut Suggestions). Edited
by and compiled Lisa
DeSpain. For Voice. Book;
CD; Vocal Collection.
Broadway. 220 pages.
Published by Alfred Music
Publishing