Choral SKU: HL.49003005 Performance Score. Edited by Mervyn Horder...(+)
Choral
SKU:
HL.49003005
Performance Score.
Edited by Mervyn Horder.
Arranged by Mervyn
Horder. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical.
Playing score. 46 pages.
Schott Music #ED12072.
Published by Schott Music
(HL.49003005).
ISBN
9780901938787. UPC:
073999922370.
6.5x10.0x0.214 inches.
English.
Alleluia
(Mozart) * Alleluia
(Boyce) * Cedit Hiems
Eminus * Christ is Risen
Again * Death and
Darkness * Early Morning
* Easter Eggs * Easter
Morning * Good Christian
Men * Good Joseph had a
Garden * Hail, Easter
Bright * Hilariter * I
Danced in the Morning *
Jesus Christ is Risen
Today * Jesus, Life and
Comfort Given * Let the
Merry Church Bells Ring *
Let the Song be Begun *
Let us Sing this Easter
Morning * Lord of the
Dance * Now the Green
Blade Riseth * O Sons and
Daughters * Ring the
Bell, Ring it Well *
Slowly Winter Fades Away
* The Angel rolles the
Stone away * The Drums of
Calvary * The Glory of
our King * The Lamb's
High Banquet * The Whole
Bright World * They were
Beating as he dragged
himself * The World
itself keeps Easter day *
This joyful Eastertide *
Tomorrow shall be my
dancing day * While
Christ lay dead * Ye
choirs of New
Jerusalem.
SKU: WD.679143039392 Youth Small. Composed by Daniel Semsen. Arran...(+)
SKU:
WD.679143039392
Youth Small.
Composed by Daniel
Semsen. Arranged by
Daniel Semsen. Choral,
cantatas. Jr/Youth
Musical. Youth small.
Word Music #679143039392.
Published by Word Music
(WD.679143039392).
ISBN 080689455179.
UPC:
080689455179.
All
aboard! Join Mr. Cruise
(an overly-enthusiastic
tour director) and his
faithful daughter Liza on
a boat trip up the Nile
as they retell classic
Bible stories. But
there's a problem: The
stories are all wrong! It
takes the kids of Ocean
View Church who are on
board to set the record
straight and help Mr.
Cruise understand the
real truth about God's
enduring love and
faithfulness to His
people. Filled with fun
and clever songs, this
easy to present and
perform musical is a
creative breath of fresh
air that's as
enlightening as it is
worshipful and
entertaining. Create a
wonderful and unique
musical experience for
your children's choir and
congregation with Spend a
While on the
Nile
Features Matt
Redman song, You Never
Let Go. For the first
time ever: Studio
Orchestration available
(for free!) on the IVD!
TRK written by the
creator, Christy
Semsen.
Composed by
Samuel Adler. Large
Score. With Standard
notation. 41 pages.
Duration 10 minutes. Carl
Fischer Music #FE189S.
Published by Carl Fischer
Music (CF.FE189S).
ISBN 9780825877520.
UPC: 798408077525. 9.5 x
13 inches.
Nuptial
Scene was commissioned by
the Jerusalem Symphony
Orchestra in cooperation
with the city of
Jerusalem for the
celebration of the fourth
Testimonium, a festival
to preserve Jewish
heritage. The work was
written in September,
1975, and premiered in
Jerusalem in February,
1976, with the Jerusalem
Symphony, Juan Pablo
Izquierdo conducting, and
Adi Etzion as soloist. It
is dedicated to Recha
Freier, the originator
and prime mover of the
festival. Nuptial Scene
is based on a simple
medieval poem of
prenuptial instruction.
Part of it is in Catalan
and part in Hebrew. The
poem originated in
Catalonia, where a highly
developed Jewish
community existed until
the expulsion of 1492. A
mother is instructing her
daughter in the ways and
strategies of marriage
and rejoicing with a new
song for a new bride.
When I initially planned
the setting for this
lovely poem, I realized
that the age of the
daughter would be about
twelve, for girls in that
historical period were
married at puberty. This
set in motion a scheme
for the composition,
since my oldest daughter
was thirteen at that
time, and I used her
psyche to give me
direction. When a girl of
twelve or thirteen thinks
of a wedding, she is
completely captivated by
its frills -- the dress,
the party, the dancing.
In her imagination, the
reality of a husband or
any kind of domestic
responsibility would be
nonexistent. Therefore,
during the mother's
ardent pleas,
instructions,
admonitions, and even
innuendos, the daughter's
mind wanders and dreams
of dancing. Musically,
the rather straight,
somber rhythm and melody
of the song are
interrupted by an
independent, faster dance
speed of the bongos and
by scattered fragments of
an actual medieval
Spanish-Jewish dance. At
the point where the
mother speaks of sensuous
marital problems, she
herself becomes excited,
and in a nostalgic,
dreamlike spirit -- with
the use of improvised
melodic lines for which
only the gestural
outlines are given -- she
goes into a kind of
rapturous trance. The
daughter, however, seems
unmoved, and she falls
asleep. The mother calms
down, puts her head on
the daughter's shoulder,
and quietly muses, then
also closes her eyes.
--Samuel Adler
 . Nuptial Scene
was commissioned by the
Jerusalem Symphony
Orchestra in cooperation
with the city of
Jerusalem for the
celebration of the fourth
“Testimoniumâ€
, a festival to preserve
Jewish heritage. The
work was written in
September, 1975, and
premiered in Jerusalem in
February, 1976, with the
Jerusalem Symphony, Juan
Pablo Izquierdo
conducting, and Adi
Etzion as
soloist.  It is
dedicated to Recha
Freier, the originator
and prime mover of the
festival.Nuptial Scene is
based on a simple
medieval poem of
prenuptial
instruction. Part of
it is in Catalan and part
in Hebrew. The poem
originated in Catalonia,
where a highly developed
Jewish community existed
until the expulsion of
1492. A mother is
instructing her daughter
in the ways and
strategies of marriage
and rejoicing with a
“new songâ€
for a “new
brideâ€.When I
initially planned the
setting for this lovely
poem, I realized that the
age of the daughter would
be about twelve, for
girls in that historical
period were married at
puberty. This set in
motion a scheme for the
composition, since my
oldest daughter was
thirteen at that time,
and I used her psyche to
give me direction.Â
When a girl of twelve or
thirteen thinks of a
wedding, she is
completely captivated by
its frills — the
dress, the party, the
dancing. In her
imagination, the reality
of a husband or any kind
of domestic
responsibility would be
nonexistent.Â
Therefore, during the
mother’s ardent
pleas, instructions,
admonitions, and even
innuendos, the
daughter’s mind
wanders and dreams of
dancing. Musically,
the rather straight,
somber rhythm and melody
of the song are
interrupted by an
independent, faster dance
speed of the bongos and
by scattered fragments of
an actual medieval
Spanish-Jewish dance.Â
At the point where the
mother speaks of sensuous
marital problems, she
herself becomes excited,
and in a nostalgic,
dreamlike spirit —
with the use of
improvised melodic lines
for which only the
gestural outlines are
given — she goes
into a kind of rapturous
trance. The daughter,
however, seems unmoved,
and she falls asleep.Â
The mother calms down,
puts her head on the
daughter’s
shoulder, and quietly
muses, then also closes
her eyes.—Samuel
Adler .
(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
Concert Band/Harmonie - Grade 4 SKU: BT.1750-10-010-MS Arranged by Naohir...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.1750-10-010-MS
Arranged by Naohiro Iwai.
New Sounds for Concert
Band. Pop & Rock. Set
(Score & Parts). Composed
2010. Music Sales
#1750-10-010 MS.
Published by Music Sales
(BT.1750-10-010-MS).
9x12 inches.
English-German-French-Dut
ch.
Four
unforgettable disco songs
come together in one
stunning medley. Up fi
rst is the 1979 dance
floor hit I’m in
the Mood for Dancing by
The Nolans. Next the
medley quiets down with a
charming love song,
Lovin’ You, a song
Minnie Riperton dedicated
to her daughter. You
Can’t Hurry Love
was a huge success for
The Supremes in 1966 and
Phil Collins repeated
their success in 1983
making the song immortal.
This exciting medley ends
with Olivia
Newton-John’s
hit-song Xanadu, from her
1980 musical of the same
name.
Vier
Evergreens aus der
Disco-Ära in einem
Blasorchester-Medley: Den
Anfang macht
I’m in the Mood
for Dancing, mit dem
die Geschwister- Combo
The Nolans 1979 auf vier
Kontinenten die Menschen
auf die Tanzflächen
jagte. Danach folgt als
Ruhepunkt das bezaubernde
Liebeslied
Lovin’ You,
das Minnie Riperton 1975
ihrer kleinen Tochter
widmete. You
Can’t Hurry
Love war in der
Originalversion von 1966
für die Supremes
ein Riesenhit - Phil
Collins wiederholte
diesen Erfolg 1983 und
machte den Song
unsterblich. Den
Abschluss von Naohiro
Iwais mitreißendem
Medley bildet Olivia
Newton-Johns Hit
Xanadu aus dem
gleichnamigen Musical von
1980.
Questo medley
racchiude quattro
standard degli anni della
musica disco: I’m
in the Mood for Dancing
delle Nolan Sisters
anticipa le deliziose
note della ballata
Lovin’ You di
Minnie Ripperton. Nel
1966, The Supremes
conoscono la gloria con
la versione originale di
Can’t Hurry Love.
Nel 1983, Phil Collins
replica il successo dei
Supremes e rende la
canzone immortale. Per
concludere il suo medley,
Naohiro Iwai ha scelto
Xanadu (1980) la canzone
della commedia musicale
interpretata da Olivia
Newton John.
Concert Band/Harmonie - Grade 4 SKU: BT.1750-10-140-MS Arranged by Naohir...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.1750-10-140-MS
Arranged by Naohiro Iwai.
New Sounds for Concert
Band. Pop & Rock. Score
Only. Composed 2010. 44
pages. Music Sales
#1750-10-140 MS.
Published by Music Sales
(BT.1750-10-140-MS).
9x12 inches.
English-German-French-Dut
ch.
Four
unforgettable disco songs
come together in one
stunning medley. Up fi
rst is the 1979 dance
floor hit I’m in
the Mood for Dancing by
The Nolans. Next the
medley quiets down with a
charming love song,
Lovin’ You, a song
Minnie Riperton dedicated
to her daughter. You
Can’t Hurry Love
was a huge success for
The Supremes in 1966 and
Phil Collins repeated
their success in 1983
making the song immortal.
This exciting medley ends
with Olivia
Newton-John’s
hit-song Xanadu, from her
1980 musical of the same
name.
Vier
Evergreens aus der
Disco-Ära in einem
Blasorchester-Medley: Den
Anfang macht
I’m in the Mood
for Dancing, mit dem
die Geschwister- Combo
The Nolans 1979 auf vier
Kontinenten die Menschen
auf die Tanzflächen
jagte. Danach folgt als
Ruhepunkt das bezaubernde
Liebeslied
Lovin’ You,
das Minnie Riperton 1975
ihrer kleinen Tochter
widmete. You
Can’t Hurry
Love war in der
Originalversion von 1966
für die Supremes
ein Riesenhit - Phil
Collins wiederholte
diesen Erfolg 1983 und
machte den Song
unsterblich. Den
Abschluss von Naohiro
Iwais mitreißendem
Medley bildet Olivia
Newton-Johns Hit
Xanadu aus dem
gleichnamigen Musical von
1980.
Questo medley
racchiude quattro
standard degli anni della
musica disco: I’m
in the Mood for Dancing
delle Nolan Sisters
anticipa le deliziose
note della ballata
Lovin’ You di
Minnie Ripperton. Nel
1966, The Supremes
conoscono la gloria con
la versione originale di
Can’t Hurry Love.
Nel 1983, Phil Collins
replica il successo dei
Supremes e rende la
canzone immortale. Per
concludere il suo medley,
Naohiro Iwai ha scelto
Xanadu (1980) la canzone
della commedia musicale
interpretata da Olivia
Newton John.
(4th Edition ) For voice and C instrument. Format: fakebook. With vocal melody, ...(+)
(4th Edition ) For voice
and C instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Pop rock, rock and
pop. Series: Hal Leonard
Fake Books. 584 pages.
9x12 inches. Published by
Hal Leonard.
Piano SKU: PR.701175060 Arranged by Edison Quintana. Peermusic Classical ...(+)
Piano
SKU:
PR.701175060
Arranged
by Edison Quintana.
Peermusic Classical
#70117-506. Published by
Peermusic Classical
(PR.701175060).
UPC:
888680101268.
“Th
e idea of writing the
Danzón No.2 originated
in 1993 during a trip to
Malinalco with the
painter Andrés Fonseca
and the dancer Irene
Martínez, both of whom
are experts in salon
dances with a special
passion for the danzón,
which they were able to
transmit to me from the
beginning, and also
during later trips to
Veracruz and visits to
the Colonia Salon in
Mexico City. From these
experiences onward, I
started to learn the
danzón’s rhythms, its
form, its melodic
outline, and to listen to
the old recordings by
Acerina and his Danzonera
Orchestra. I was
fascinated and I started
to understand that the
apparent lightness of the
danzón is only like a
visiting card for a type
of music full of
sensuality and
qualitative seriousness,
a genre which old Mexican
people continue to dance
with a touch of nostalgia
and a jubilant escape
towards their own
emotional world; we can
fortunately still see
this in the embrace
between music and dance
that occurs in the State
of Veracruz and in the
dance parlors of Mexico
City. The Danzón No.2 is
a tribute to the
environment that
nourishes the genre. It
endeavors to get as close
as possible to the dance,
to its nostalgic
melodies, to its wild
rhythms, and although it
violates its intimacy,
its form and its harmonic
language, it is a very
personal way of paying my
respects and expressing
my emotions towards truly
popular music. Danzón
No.2 was written on a
commission by the
Department of Musical
Activities at Mexico’s
National Autonomous
University and is
dedicated to my daughter
Lily.” -- Arturo
Marquez About the danzon
genre, Lidice Valenzuela
writes in Cubanow: The
history of the danzon
goes back to the arrival
in Cuba of the European
contradance. It came in
three different ways:
directly from Spain, the
colonial metropolis; with
the British, who occupied
Havana in 1762; and the
French colonizers and
their slaves who landed
in Cuba's Eastern shores
after fleeing from the
Haitian Revolution. From
all of that
trans-cultural process
the Danzon was born. This
new Cuban dance,
naturalized by the
Creoles, had much more
expressive freedom: the
couple danced in each
other's arms, and the
dancing time was
extended. People began
calling it Danzon and it
was in Matanzas, in the
1870s that figure dancing
also began to be called
Danzon. Thus, Failde, an
outstanding musician,
named his composition
with the generic name of
Danzon..
Piano SKU: PR.701185010 Arranged by Leticia Gómez-Tagle. Peermusic Class...(+)
Piano
SKU:
PR.701185010
Arranged
by Leticia Gómez-Tagle.
Peermusic Classical
#70118-501. Published by
Peermusic Classical
(PR.701185010).
UPC:
888680101275.
“Th
e idea of writing the
Danzón No.2 originated
in 1993 during a trip to
Malinalco with the
painter Andrés Fonseca
and the dancer Irene
Martínez, both of whom
are experts in salon
dances with a special
passion for the danzón,
which they were able to
transmit to me from the
beginning, and also
during later trips to
Veracruz and visits to
the Colonia Salon in
Mexico City. From these
experiences onward, I
started to learn the
danzón’s rhythms, its
form, its melodic
outline, and to listen to
the old recordings by
Acerina and his Danzonera
Orchestra. I was
fascinated and I started
to understand that the
apparent lightness of the
danzón is only like a
visiting card for a type
of music full of
sensuality and
qualitative seriousness,
a genre which old Mexican
people continue to dance
with a touch of nostalgia
and a jubilant escape
towards their own
emotional world; we can
fortunately still see
this in the embrace
between music and dance
that occurs in the State
of Veracruz and in the
dance parlors of Mexico
City. The Danzón No.2 is
a tribute to the
environment that
nourishes the genre. It
endeavors to get as close
as possible to the dance,
to its nostalgic
melodies, to its wild
rhythms, and although it
violates its intimacy,
its form and its harmonic
language, it is a very
personal way of paying my
respects and expressing
my emotions towards truly
popular music. Danzón
No.2 was written on a
commission by the
Department of Musical
Activities at Mexico’s
National Autonomous
University and is
dedicated to my daughter
Lily.” -- Arturo
Marquez About the danzon
genre, Lidice Valenzuela
writes in Cubanow: The
history of the danzon
goes back to the arrival
in Cuba of the European
contradance. It came in
three different ways:
directly from Spain, the
colonial metropolis; with
the British, who occupied
Havana in 1762; and the
French colonizers and
their slaves who landed
in Cuba's Eastern shores
after fleeing from the
Haitian Revolution. From
all of that
trans-cultural process
the Danzon was born. This
new Cuban dance,
naturalized by the
Creoles, had much more
expressive freedom: the
couple danced in each
other's arms, and the
dancing time was
extended. People began
calling it Danzon and it
was in Matanzas, in the
1870s that figure dancing
also began to be called
Danzon. Thus, Failde, an
outstanding musician,
named his composition
with the generic name of
Danzon..
(Piano/Vocal/Chords). By Sir Noel Coward. For Keyboard; Piano; Voice. This editi...(+)
(Piano/Vocal/Chords). By
Sir Noel Coward. For
Keyboard; Piano; Voice.
This edition:
Piano/Vocal/Chords.
Artist/Personality;
Personality Book;
Piano/Vocal/Chords. Book.
244 pages. Published by
Alfred Music Publishing
(59 Familiar Hits for Everybody to Play! (Piano/Vocal/Guitar)). For Guitar; Keyb...(+)
(59 Familiar Hits for
Everybody to Play!
(Piano/Vocal/Guitar)).
For Guitar; Keyboard;
Piano; Voice. This
edition:
Piano/Vocal/Guitar. Book;
P/V/C Mixed Folio;
Piano/Vocal/Chords.
Family Treasury.
Pop/Rock. 336 pages.
Published by Alfred Music
Publishing
366 More Great Songs for Better Living. Arranged by Jim Beloff, Liz Belof...(+)
366 More Great Songs
for Better Living.
Arranged by Jim Beloff,
Liz Beloff. Fake Book.
Country, Pop,
Standards. Softcover. 416
pages. Published by Hal
Leonard (HL.212971).
by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels....(+)
by Stacy Phillips. For
fiddle. All styles,
fiddle tunes. Level:
Multiple Levels. Book.
Solos. Size 8.75x11.75.
268 pages. Published by
Mel Bay Pub., Inc.