By Bob Seger. Arranged by Kirby Shaw. SATB. Pop Choral Series. 12 pages. Published by Hal Leonard

Composed by Alan Merrill, George Jackson, Jake Hooker, Jimmy DeKnight, Max C. Freedman, and Thomas E. Jones III. Arranged by Greg Gilpin. Shawnee Press. Octavo. 12 pages. Published by Shawnee Press (HL.35030818).

By Young Rascals. Arranged by Kirby Shaw. Pop Choral Series. Oldies, Pop, Rock, Show Choir, Sixties. Octavo. 16 pages. Published by Hal Leonard

By Sly and the Family Stone. Arranged by Paul Langford. Pop Choral Series. A Cappella, Concert, Oldies, Pop, Rock, Show Choir, Sixties. Octavo. 20 pages. Published by Hal Leonard

Mamma Mia * Fernando * Dancing Queen. Composed by Benny Andersson, Bjorn Ulvaeus, and Stig Anderson. Arranged by Jack Zaino. Performance Music Ensemble; Single Titles. Alfred Pop Choral Series. Form: Medley. Broadway; Pop; Pop/Rock; Radio; Secular. Choral Octavo. 20 pages. Alfred Music #00-50280. Published by Alfred Music

Arranged by Moses Hogan. (SATB). Choral Collection. Softcover. Size 6.75x10.5 inches. 232 pages. Published by Hal Leonard.

(Medley). Arranged by Alan Billingsley. Pop Choral Series. Oldies, Medley, Show Choir, Pop, Rock, Classic Rock. Octavo. 20 pages. Published by Hal Leonard

A Camaroon Marching Song. Composed by Camaroon Folksong. Arranged by Ken Berg. Fold. Octavo. 12 pages. Duration 2 minutes, 35 seconds. Carl Fischer Music #CM9658. Published by Carl Fischer Music

(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.

SATB Choir - Grade 3

SKU: BT.DHP-0991451-050

Composed by Jacob De Haan. Inspiration Series. Set (Score & Parts). Composed 1999. De Haske Publications #DHP 0991451-050. Published by De Haske Publications (BT.DHP-0991451-050).

English.

Pacific Dreams describes the experience of Miguel, a traveling composer from Spain who, feeling somewhat alienated from his homeland, is wandering through an area of Sydney known as The Rocks. At a small outdoor market in a typical street of this oldcolonial neighbourhood, he discovers a print of William DeShazos painting Pacific Dreams Portrayed in the painting is the surf of one of the exotic islands in the Pacific. Next, with the impressive Sydney Harbour Bridge looming over the narrowstreets of The Rocks, he envisions sultry Pacific beaches. Suddenly a theme he once composed about the lakes in Japan comes to him. Is it the Asian influences present in cosmopolitan Sydney that bring this theme to mind? Or perhaps the waters aroundSydney, over which he could sail to Tahiti? He is uncertain. Could this same theme be used to create a new composition about his feelings for the metropolis Sydney? How then to work his Pacific Dreams into the mix? Miguel is certainly no fan ofHawaiian music. Mayby he could use the vocabularies of islands like Hawaii and Tahiti, their beautiful vowel combinations being sung ad libitum by a mixed choir.With these ideas and his newly purchased print of Pacific Dreams, he boards the Metroat Circular Quay. He has a final glimpse of the harbour and the Sydney Opera House as the train races into the ground. On to the hotel! To work! He must compose!Maestoso : Miguel is impressed as he gazes upon the Sydney Harbour Bridge. And yet, hewants to go away from this city. Away, to an exotic island in the Pacific.Steady Rock : In the Rocks, musicians are playing at a square. Miguel basks in the atmosphere but at the same time he is fantasizing about Hawaii and Tahiti.Andante Lamentoso :In his hotel room, Miguel is feeling sad and lonely in this big city. He takes comfort in his Pacific Dreams.Allegro : Miguel boards the boat that takes him from Darling Harbour to Circular Quay. In his mind he is traveling on to Hawaii. Or is ithome, where the bolero is playing? He is pulled back to reality by the skyline of Sydney.

Wir schlüpfen in die Haut von Miguel und reisen mit ihm nach Australien. Einigermaßen entfremdet von seiner spanischen Heimat schlendert er durch das Viertel The Rocks in Sydney. Auf einem kleinen Markt entdeckt er einen Druck des Gemäldes Pacific Dreams von William DeShazo. Das Bild stellt die Meeresbrandung auf einer exotischen Insel im Pazifik dar. Während die eindrucksvolle Harbour Bridge von Sidney vor ihm auftaucht, ist er in Gedanken bei den heißen Stränden im Stillen Ozean. Auf einmal kommt ihm das Thema in den Sinn, das er einst über die Gewässer Japans komponiert hatte. Liegt es an den asiatischen Einflüssen, die im kosmopolitischen Sydney so vielfältig vertretensind? Oder sind es die Wasser rund um Sydney, über die er nach Tahiti segeln könnte? Er ist sich unsicher. Könnte er genau dieses Thema für eine neue Komposition über die Metropole Sydney verwenden? Wie sollte er seine Träume vom Pazifik, seine Pacific Dreams, in diese Mixtur einbringen? Vielleicht könnte er den Wortschatz von Inseln wie Hawaii und Tahiti für seine Komposition verwenden. Und einen gemischten Chor die schönen Vokalverbindungen ad libitum singen lassen. Mit diesen Ideen im Kopf steigt er in die Metro am Circular Quay. Auf ins Hotel und frisch ans Werk! Jetzt muss er einfach komponieren....

Arranged by , edited by Bob Dingley, composed by Greg Gilpin. Collection for SATB chorus and piano accompaniment. Series: Pop choral octavo (SATB). 172 pages. Published by Alfred Publishing.

SATB choir - Grade 4

SKU: KJ.8993

Composed by Bradley Ellingboe. Collection. Music for the Church Year. Sacred, Christmas & Christmastide. Octavo. Neil A. Kjos Music Company #8993. Published by Neil A. Kjos Music Company (KJ.8993).

UPC: 8402701238.

The O Little Town of Bethlehem text unfolds as voices enter one at a time in a new setting with the mysterious feel of wonder. Premiered by Dennis Shrock's Desert Chorale in Santa Fe.

Solo voices, choir, orchestra (3 Soprano Voice Solo, 3 Tenor Voice Solo, 2 Bass Voice Solo, SATB Choir, 2 recorder-Alto, 2 Oboe, bassoon, 3 Trumpets, timpani, 3 Violins, Viola, Cello, Bassi(Vc, double bass, bassoon, harpisc.))

SKU: BA.BA04050

Opera in three acts. Composed by George Frideric Handel. Edited by Dorothea Schröder. This edition: complete edition, urtext edition. Linen. Halle Handel Edition (HHA) Series II, Volume 1. Oper, Barock (Opera, Baroque). Complete edition, Score. HWV 1. Duration 3 hours, 30 minutes. Baerenreiter Verlag #BA04050_00. Published by Baerenreiter Verlag (BA.BA04050).

ISBN 9790006443598. 33 x 26 cm inches. Language: German. Text: Feustking, Friedrich Christian.

“A lmira”, Handel’s first opera, was well received when premiered in 1705 at the Theater am Gänsemarkt in Hamburg. The director was Reinhard Keiser, who, remarkably, had himself already set Friedrich Christian Feustking’s text to music. The role of Fernando was sung by Johann Mattheson. The translation used by Handel leaves several Italian arias in their original language, resulting in a delightful mixture of German and Italian.

The opera which, after sundry entangled romances, ends in the wedding of three couples, is characterised by exuberant scenes: the procession at Almira’s crowning ceremony, a duel, a prison scene and a masked-ball involving the three continents Europe, Africa and Asia.

The vocal score to “Almira” by George Frideric Handel brings about a small sensation: Whilst conducting a reenactment of this work in 1732, Georg Philipp Telemann removed the Aria no. 28 “Ingrato, spietato” from his conducting score. Since then this aria has been deemed lost. Due to necessity only the edited vocal text devoid of any music was presented in the 1994 volume of the “Halle Handel Edition”.
Thanks to a recently discovered contemporary manuscript copy from the beginning of the 18th century which was found in the music library of the Mariengymnasium in Jever, this aria has now been made available to performers for the first time in this new vocal score edition. Previous to this the corresponding pages could only be seen as a facsimile in an article of the “Göttinger Händel-Beiträgeâ� �.
Now the aria can be performed again. Furthermore, with the help of this new source, missing measures in the basso continuo which had initially been completed by the editor of the “Halle Handel Edition” volume, could be reconstructed from the basso continuo part of the Bellante aria “Ich brenne zwar” (no. 71).

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

Solo voices, choir, orchestra (2 Soprano Voice Solo, Mezzo Voice Solo, Alto Voice Solo, Tenor Voice Solo, Bass Voice Solo, SATB Choir, 2 Ob, 2 Hn, Str, Continuo)

SKU: BA.BA04045

Opera in three acts. Composed by George Frideric Handel. Edited by Bernd Baselt. This edition: complete edition, urtext edition. Linen. Halle Handel Edition (HHA) Serie II-Supplement/1. Oper, Barock (Opera, Baroque). Complete edition, Score. HWV A. Duration 2 hours. Baerenreiter Verlag #BA04045_00. Published by Baerenreiter Verlag (BA.BA04045).

ISBN 9790006443536. 33 x 26.1 cm inches. Text Language: Italian. Anonymus.

In 1734 Handel provided the pasticcio “ Oreste ” for his third operatic enterprise which, following the bankruptcy of the Royal Academy and its successor academy, felt threatened by competition from the newly-founded Opera of the Nobility. Hence, the composer did not compile the work from favourite movements from his own and other composer's pieces as was usual at that time; rather in “ Oreste ” he presented a selection of the most beautiful arias and ensembles exclusively from his own operas. In addition, he expanded the ballet and choral scenes which he thought would make a great impact after the move into the newly built Covent Garden Theatre.
As most of the singers in his Italian company had been enticed away by the competition, Handel increasingly began to engage English virtuosi. He probably even worked on the new version of the libretto himself in order to place the new stars in the limelight to the best effect.

The new vocal score is based on Volume 1 of the Supplement to Series II of the “Halle Handel” Edition edited by Bernd Baselt .

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding