Choir Secular (SAB choir/3-Part choir Mixed)

SKU: AP.50273

Composed by Madonna. Arranged by Alan Billingsley. Performance Music Ensemble; Single Titles. Alfred Pop Choral Series. Classic Pop; Movie; Pop; Radio; Secular. Choral Octavo. 12 pages. Alfred Music #00-50273. Published by Alfred Music (AP.50273).

UPC: 038081574431. English.

Star light, star bright! This dance-pop single from Madonna's debut album made a welcome comeback in the animated movie Luck. Upbeat rhythms, a catchy melody, and no-fuss harmonies allow for ease of learning. Alan's flexible treble voicing works for 2-part singers and includes many optional cue notes for SSA groups. At the end, a featured soloist shows off their star power.

About Alfred Pop Choral Series

The Alfred Pop Series features outstanding arrangements of songs from the popular music genre. These publications provide exciting, contemporary, and educationally-sound arrangements for singers of all ages, from elementary through high school, to college and adult choirs.

Choir Secular

SKU: AP.50275

Composed by Madonna. Arranged by Alan Billingsley. This edition: SoundTrax CD. Choral Octavo; Performance Music Ensemble; Single Titles. Alfred Pop Choral Series. Classic Pop; Movie; Pop; Radio; Secular. CD. Alfred Music #00-50275. Published by Alfred Music (AP.50275).

UPC: 038081574455. English.

Star light, star bright! This dance-pop single from Madonna's debut album made a welcome comeback in the animated movie Luck. Upbeat rhythms, a catchy melody, and no-fuss harmonies allow for ease of learning. Alan's flexible treble voicing works for 2-part singers and includes many optional cue notes for SSA groups. At the end, a featured soloist shows off their star power.

About Alfred Pop Choral Series

The Alfred Pop Series features outstanding arrangements of songs from the popular music genre. These publications provide exciting, contemporary, and educationally-sound arrangements for singers of all ages, from elementary through high school, to college and adult choirs.

Chorus (with soloists) and piano (solos: SATB, speaker - choir: SATB - 2.2.0.0. - 0.0.0.0. - 2 lte - str (2vagb) - bc)

SKU: BR.EB-8916

Composed by Johann Sebastian Bach. Edited by Malcolm Bruno. Arranged by Andreas (KlA) Kohs. Choir; Softbound. Edition Breitkopf.

The music scholar Malcolm Bruno has prepared a new reconstruction of the work based on the meanwhile established parody model Trauerode BWV 198.

Oratorio/passion; Baroque. Piano/Vocal Score. 92 pages. Duration 85'. Breitkopf and Haertel #EB 8916. Published by Breitkopf and Haertel (BR.EB-8916).

ISBN 9790004185827. 7.5 x 10.5 inches.

Welcome comebackBach's St John and St. Matthew Passions are popular and well established in concert life. Of a third, the Markus Passion, only Picander's original libretto is extant. Parallel arias from various cantatas replace the lacking music for arias, and instead of the lost recitative and the turba [crowd] choruses, the spoken gospel text is bilingually published in this edition (in German/English). The freshly-prepared performance material including a detailed commentary is supplemented by a newly-arranged piano reduction.,,Une version qui n'a rien d'authentique, mais qui tient la route. C'est du Bach de bout en bout et, contrairement a d'autres reconstitutions, l'editeur ne propose rien pour les recitatifs. L'evangeliste pourrait meme etre un recitant. Interessante suggestion. (Alain Paris, La Lettre du Musicien)

The music scholar Malcolm Bruno has prepared a new reconstruction of the work based on the meanwhile established parody model Trauerode BWV 198.

By Robert Jager. By Robert Jager. For Concert Band. Concert Band. Belwin Classic Band. Level: Medium Easy (grade III). Conductor Score and Parts. 296 pages. Duration 13:37. Published by Alfred Publishing.

(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 and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard

Edited by David Brody. For violin. Format: fake book. With lead melody, chord names, instructional text and performance notes. Folk, americana and british. 302 pages. 9x12 inches. Published by Oak Publications.

Fakebook for Eb instrument. With vocal melody, lyrics and chord names. Series: Hal Leonard Fake Books. 864 pages. Published by Hal Leonard.

Choral SSAA choir

SKU: CF.CM9717

Composed by Mark Burrows. 8 pages. Duration 3 minutes, 7 seconds. Carl Fischer Music #CM9717. Published by Carl Fischer Music (CF.CM9717).

ISBN 9781491160961. UPC: 680160919567. Psalm 91:4-5.

The Lord will overshadow you with his pinions, and you will find refuge under his wings. His faithfulness will encompass you with a shield. Psalm 91:4-5 To feel safe and to feel cared for, these are two of the great yearnings of the human heart. What a blessing it is, especially during times of distress or uncertainty, to know that we aren't alone, that someone is reaching out to help us and even hold us. It could be a family member or a friend. It could be a still small voice whispering, It's okay. I've got you. It could even be a loving community, like a choir, assuring us that we are known, that we are loved, that we belong. The first word - scapulis - is translated as pinions. On a bird, a pinion is the outer part of the wing, including the flight feathers. The opening measures, with a one-measure phrase followed be a three-measure phrase, are meant to evoke the image of wings unfurling to welcome in. All through this section - mm. 1-20 - encourage phrasing that is never hurried but moves with intention to the last stressed syllable of each phrase, before ebbing slightly. This section is all about reassurance and comfort. In mm. 21-30 we have a new section where uncertainty grows. At this point the text - and you will find refuge under his wings - is more aspirational than definitive. Leaning into non-chord tones will help make this feeling of uncertainty more palpable. Places where this occurs: Alto I - Measure 22 the Ab in pennis, m. 26 the Bb in sperabis Soprano II - Measure 23 the A natural in pennis, m. 29 the C in sperabis Soprano I - Measure 24 the C in pennis, m. 28 the D in sperabis The apex of the piece is at m. 30 where the yearning for comfort and assurance reaches its height, finding that comfort in the arrival back at Eb major in m. 39. The phrase veritas ejus (his faithfulness), with its triplet figure should flow gently, like a musical carress. The final reassurance occurs at m. 51 as we return to the melody, and the homophonic texture, of the opening. Even as the piece gets softer and softer, encourage the singers to keep energy moving through each phrase. The structure and feel of this piece was inspired by one of the all-time great settings of yet another Psalm of assurance - Felix Mendelssohn's Lift Thine Eyes.
The Lord will overshadow you with his pinions,and you will find refuge under his wings.His faithfulness will encompass you with a shield. Psalm 91:4-5 To feel safe and to feel cared for, these are two of the great yearnings of the human heart.What a blessing it is, especially during times of distress or uncertainty, to know that we aren’t alone, that someone is reaching out to help us and even hold us. It could be a family member or a friend. It could be a still small voice whispering, “It’s okay. I’ve got you.” It could even be a loving community, like a choir, assuring us that we are known, that we are loved, that we belong.The first word – scapulis – is translated as “pinions.” On a bird, a pinion is the outer part of the wing, including the flight feathers. The opening measures, with a one-measure phrase followed be a three-measure phrase, are meant to evoke the image of wings unfurling to welcome in. All through this section – mm. 1-20 – encourage phrasing that is never hurried but moves with intention to the last stressed syllable of each phrase, before ebbing slightly. This section is all about reassurance and comfort.In mm. 21-30 we have a new section where uncertainty grows. At this point the text – and you will find refuge under his wings – is more aspirational than definitive. Leaning into non-chord tones will help make this feeling of uncertainty more palpable. Places where this occurs:Alto I – Measure 22 the Ab in pennis, m. 26 the Bb in sperabisSoprano II – Measure 23 the A natural in pennis, m. 29 the C in sperabisSoprano I – Measure 24 the C in pennis, m. 28 the D in sperabis The apex of the piece is at m. 30 where the yearning for comfort and assurance reaches its height, finding that comfort in the arrival back at Eb major in m. 39. The phrase veritas ejus (his faithfulness), with its triplet figure should flow gently, like a musical carress.The final reassurance occurs at m. 51 as we return to the melody, and the homophonic texture, of the opening. Even as the piece gets softer and softer, encourage the singers to keep energy moving through each phrase.The structure and feel of this piece was inspired by one of the all-time great settings of yet another Psalm of assurance – Felix Mendelssohn’s Lift Thine Eyes.

Edited by Robin Williamson. For violin. Includes violin solo songbook and examples CD. With standard notation, chord names, performance notes and introductory text. British and folk. 96 pages. 9x12 inches. Published by Oak Publications

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

Fake Book (Includes melody line and chords). Size 9x12 inches. 568 pages. Published by Hal Leonard.

(C Edition) For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Series: Hal Leonard Fake Books. 856 pages. 9x12 inches. Published by Hal Leonard.

Vocal Selections. By Charles Strouse. Piano/Vocal/Chords Vocal Selections (Arrangements for piano and voice with guitar chords). Size 9x12 inches. 64 pages. Published by Hal Leonard.

SKU: HL.731522

EAST SOUND RESEARCH. Guitar Pedal. Hal Leonard #CM0231. Published by Hal Leonard (HL.731522).

UPC: 852940000974. 3.25x5.5x2.75 inches.

Carl started years back with the Compressor Limiter...that big black hand-made-in-Denmark compressor that brought studio comps to the pedal board. The word got out that it was just too big for modern pedal boards, so Carl redesigned that pedal into a much smaller format, preset (or fixed) the Threshold and Response leaving just two knobs for Comp and Level. The feedback we got was overwhelming...players were telling us the Comp Limiter had the same sonic clarity, the same headroom and the same quietness that the big studio comps had but was so quick and easy to use. Carl could have left it there, but that's not Carl! Welcome to the Honey Comp, and it's as sweet as ... well, you know ... honey. This pedal is the same as the Comp Limiter in every way... same Gray anodized finish, same footprint and the same simplicity of use with one compression control and one level control. It is pretty much the perfect compressor, so what could Carl possible upgrade? Easy! Carl added a Dry volume which allows you parallel processing with three knobs! Parallel Processing is a studio technique which takes a heavily compressed signal (which through compression loses some dynamics if not all) and allows you to add a clean (Dry) signal on top replacing those dynamics giving your guitar three-dimensionality and allowing the guitar to cut through the mix. For those of you used to studio work, this is a very well-known technique, but usually too complex for a pedal board! The three knobs allow you to balance the Compressed signal with the Dry signal quickly and efficiently for a very pro sound! The Carl Martin Honey Comp incorporates the special CM developed DC/DC converter circuitry. This enables us to run the pedal with +-12V internally, which is necessary, in order to maintain the same sonic quality and headroom as on the “old” Compressor/Limiter, using a regular 9V DC 200mA external power supply.

By Paul Clark. Jazz ensemble. Audio recording available separately (items CL.WFR348 and CL.991-2006-01). Grade 2.5. Score and set of parts. Composed 2006. Duration 3 minutes, 19 seconds. Published by C.L. Barnhouse

SKU: GI.G-10665

Composed by Angela Ammerman. Classical. 204 pages. GIA Publications #10665. Published by GIA Publications (GI.G-10665).

ISBN 9781574635379.

Cont ributors: Jaimie Abney-Giraldo • Angela Ammerman • Han Sol Chang • Charles R. Ciorba • Jeanne Crowley • Vivian Gonzalez • Monica Guido • Kristina Hamester • Essel Linton • Linda Apple Monson • Marcia Neel • Tony Sauza • Ida Steadman Very few music teachers are prepared to address the needs of the rapidly growing population of English Language Learners (ELLs). Whether you have just one ELL in your classroom or 50, this book provides discipline-specific tips, strategies, examples, classroom management recommendations and much more. Written by experienced music educators with backgrounds in concert band, modern band, chorus, orchestra, mariachi, special education, higher education, general music and administration, this highly interactive text will guide you to reach optimal engagement with ALL students while addressing communication barriers. Being in orchestra made me feel safe and welcome because we all speak the same language: music. —Janine     Manila, Philippines After music, I feel changed. I don’t feel sleepy and worrying, and also I’m not afraid of mistakes. I am wanting to play again. —Somsak     Chiang Mai, Thailand It was like playing with others with no words. No words, yet we were able to understand what we wanted by looking at each other’s eyes, body motion, and listening to each other. —Da Hoen     Seoul, South Korea Music brings people together. Music is about seeing myself in another and letting another see themselves in me. —Larisa Brasov     Romania Last year, I missed 150 days of school. I just didn’t go to school. This year, I haven’t missed a day… The only difference in my life is this program right here. This program has saved my life, and now, I am going to graduate. —Maria     Mexico.

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (Study Score)

SKU: HL.49018099

Boy Soprano, Soprano, Tenor, Flugelhorn, Mixed Chorus, and Chamber Orchestra Study Score. Composed by Harald Weiss. This edition: Paperback/Soft Cover. Sheet music. Study Score. Classical. Softcover. Composed 2008/2009. 188 pages. Duration 100'. Schott Music #ED20619. Published by Schott Music (HL.49018099).

ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.

On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.

Scott Joplin Reconsidered. Composed by Scott Joplin (1868-1917). Edited by Lara Downes. Collection. Theodore Presser Company #440-40028. Published by Theodore Presser Company

For voice and C instrument. Format: fakebook. With vocal melody, lyrics, chord names and guitar chord chart. Gospel and worship. Series: Hal Leonard Fake Books. 295 pages. 9x12 inches. Published by Hal Leonard.

(Cello). For Cello. Book; CD; Play-Along; String Series. Ultimate Pop Instrumental Solos Series. Movie. Grade 2; Grade 3. 84 pages. Published by Alfred Music Publishing

(Trumpet). For Trumpet. Book; CD; Instrumental Series; Play-Along. Ultimate Pop Instrumental Solos Series. Movie. Grade 2; Grade 3. 84 pages. Published by Alfred Music Publishing

(Trombone). For Trombone. Book; CD; Instrumental Series; Play-Along. Ultimate Pop Instrumental Solos Series. Movie. Grade 2; Grade 3. 84 pages. Published by Alfred Music Publishing

(Violin). For Violin. Book; CD; Play-Along; String Series. Ultimate Pop Instrumental Solos Series. Movie. Grade 2; Grade 3. 84 pages. Published by Alfred Music Publishing

(Viola). For Viola. Book; CD; Play-Along; String Series. Ultimate Pop Instrumental Solos Series. Movie. Grade 2; Grade 3. 84 pages. Published by Alfred Music Publishing