Composed by James Hetfield/Lars Ulrich. Arranged by Lorenzo Bocci. For concer...(+)
Composed by James
Hetfield/Lars Ulrich.
Arranged by Lorenzo
Bocci.
For concert band. Pop
Music/Catalogue New Band
Music Vol. 13. Hit
Series.
Recorded on Dance of the
Selkies (ML.311123720).
Grade 3. Full set.
Duration
7 minutes, 36 seconds.
Published by Molenaar
Edition
Composed by Anthony Newley, Leslie Bricusse. For voice and piano. From the Broad...(+)
Composed by Anthony
Newley, Leslie Bricusse.
For voice and piano. From
the Broadway musical.
Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics and
chord names. Broadway and
Vocal Standards. Series:
Hal Leonard Richmond
Music. 46 pages. 9x12
inches. Published by Hal
Leonard.
Instruments en Do [Fake Book] - Intermédiaire Sher Music Company
For C instrument. Format: fakebook (spiral bound). With melody, chord names, int...(+)
For C instrument. Format:
fakebook (spiral bound).
With melody, chord names,
introductory text and
black and white photos.
Jazz and Pop. 438 pages.
9x12 inches. Published by
Sher Music Company.
Arranged by Erich
Wolfgang Korngold, R.
Mark Rogers, and ed./arr.
Leo Artok. Full
Orchestra. Kalmus
Masterworks Library.
Masterwork. Score and
Part(s). LudwigMasters
Publications #36-A929590.
Published by
LudwigMasters
Publications
(AP.36-A929590).
UPC:
735816239411.
English.
When Max
Reinhardt was engaged to
direct a German language
production of
Shakespeare's Much Ado
About Nothing at the
Vienna Volksbühne in
1918, he asked Korngold
to compose the incidental
music. The production,
under the German title
Viel Lärmen um Nichts
did not open until May 6,
1920 at the Schönbrunn
Palace Theater. In the
pit, the composer led
members of the Vienna
Philharmonic, performing
no less than 18 pieces of
music. In the meantime,
due to the tardy premiere
of the play, Korngold had
already extracted a
five-movement orchestral
suite which garnered much
praise when performed
three months before the
play's opening night. The
five movements included:
1. the Overture; 2. Scene
in the Bridal Chamber; 3.
Holzapfel und Schlehwein
(a mock-serious scene);
4. Intermezzo (Garden
Scene); and 5. Hornpipe.
When the play moved to
Vienna's Burgtheater
(more than 80
performances) and later
to the Rezidenz Theater
in Munich, the music
continued to attract much
attention. Demand for the
music was such that
Korngold arranged the
suite into versions for
violin and piano (four
pieces), and for solo
piano (three pieces).
German composer-arranger
Leo Artok (1885-1935)
arranged the most popular
three items (1. Hornpipe;
2. Garden Scene; and 3.
In the Bridal Chamber)
for small orchestra,
which were then published
by Schott in 1926. This
newly engraved edition of
the Artok arrangement,
offered with a new full
score for the first time,
has been completed by R.
Mark Rogers. All editions
noted above are available
from the publisher.
Instrumentation: 1.1.2.1:
2.2.1.0:
Timp.Perc(2).Harm: Str
(9.8.7.6.5 in set).
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Arranged by Erich
Wolfgang Korngold, R.
Mark Rogers, and ed./arr.
Leo Artok. Full
Orchestra. Kalmus
Masterworks Library.
Masterwork. Score.
LudwigMasters
Publications #36-A929501.
Published by
LudwigMasters
Publications
(AP.36-A929501).
ISBN
9781638875192. UPC:
735816239497.
English.
When Max
Reinhardt was engaged to
direct a German language
production of
Shakespeare's Much Ado
About Nothing at the
Vienna Volksbühne in
1918, he asked Korngold
to compose the incidental
music. The production,
under the German title
Viel Lärmen um Nichts
did not open until May 6,
1920 at the Schönbrunn
Palace Theater. In the
pit, the composer led
members of the Vienna
Philharmonic, performing
no less than 18 pieces of
music. In the meantime,
due to the tardy premiere
of the play, Korngold had
already extracted a
five-movement orchestral
suite which garnered much
praise when performed
three months before the
play's opening night. The
five movements included:
1. the Overture; 2. Scene
in the Bridal Chamber; 3.
Holzapfel und Schlehwein
(a mock-serious scene);
4. Intermezzo (Garden
Scene); and 5. Hornpipe.
When the play moved to
Vienna's Burgtheater
(more than 80
performances) and later
to the Rezidenz Theater
in Munich, the music
continued to attract much
attention. Demand for the
music was such that
Korngold arranged the
suite into versions for
violin and piano (four
pieces), and for solo
piano (three pieces).
German composer-arranger
Leo Artok (1885-1935)
arranged the most popular
three items (1. Hornpipe;
2. Garden Scene; and 3.
In the Bridal Chamber)
for small orchestra,
which were then published
by Schott in 1926. This
newly engraved edition of
the Artok arrangement,
offered with a new full
score for the first time,
has been completed by R.
Mark Rogers. All editions
noted above are available
from the publisher.
Instrumentation: 1.1.2.1:
2.2.1.0:
Timp.Perc(2).Harm: Str
(9.8.7.6.5 in set).
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Guitar - Beginning SKU: MB.31103M Third Edition. Bluegrass, Wire b...(+)
Guitar - Beginning
SKU: MB.31103M
Third Edition.
Bluegrass, Wire bound.
World. Book and online
audio. 236 pages. Mel Bay
Publications, Inc
#31103M. Published by Mel
Bay Publications, Inc
(MB.31103M).
ISBN
9781513468792. 8.75x11.75
inches.
Adam Granger
self-published the first
edition of
Grangerâ??s Fiddle
Tunes for Guitar in
1979. A second edition
was published in 1994.
Now Mel Bay Publications
presents the third
edition of the
book.
This 236-page book
is the most extensive and
best-documented
collection of fiddle
tunes for the flatpicking
guitar player in
existence, and includes
reels, hoedowns,
hornpipes, rags,
breakdowns, jigs and
slip-jigs, presented in
Southern, Northern,
Irish, Canadian, Texas
and Old-time
styles.
There are 508
fiddle tunes referenced
under 2500 titles and
alternate titles. The
titles are fully indexed,
making the book doubly
valuable as a reference
book and a source
book.
In this new
edition, all tunes are
typeset, instead of being
handwritten as they were
in the previous editions,
making the tabs easier to
read.
The tunes in
Grangerâ??s Fiddle
Tunes for Guitar are
presented in Easytab, a
streamlined tablature
notation system designed
by Adam specifically for
fiddle
tunes.
The book comes
with a link which gives
access to mp3 recordings
by Adam of all 508 tunes,
each played once at a
moderate tempo, with
rhythm on one channel and
lead on the
other.
Also included in
Grangerâ??s Fiddle
Tunes for Guitar are
instructions for reading
Easytab, descriptions of
tune types presented in
the book, and primers on
traditional flatpicking
and rhythm guitar.
Additionally, there are
sections on timing,
ornamentation, technique,
and fingering, as well as
information on tune
sources and a history of
the
collection.
Mel Bay also
offers The Granger
Collection, by Bill
Nicholson, the same 508
tunes in standard music
notation.
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult
SKU:
HL.49046544
For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544).
ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches.
I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti).
Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
Performed by Kathy Mattea. For voice, piano and guitar chords. Format: piano/voc...(+)
Performed by Kathy
Mattea. For voice, piano
and guitar chords.
Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names and guitar
chord diagrams. Country
folk, contemporary
country, holiday and
christmas. 48 pages. 9x12
inches. Published by Hal
Leonard.
SATB choir, piano accompaniment - easy/moderate SKU: WD.080689588365 Comp...(+)
SATB choir, piano
accompaniment -
easy/moderate
SKU:
WD.080689588365
Composed by Cliff Duren.
Arranged by Cliff Duren.
Choral, cantatas. 17
Songs in 10 Arrangements
featuring Jesus Can
Change Your Life, Alpha
and Omega, The Blood
Hasn't Ever Changes and 7
more. Christmas. CD
preview pak. Word Music
#080689588365. Published
by Word Music
(WD.080689588365).
UPC:
080689588365.
Intro
ducing Southern Sundays,
the new Southern Gospel
Choir Series, from WORD
Music! There's nothing
better than the rhythms
and sounds of a great
southern gospel song. Add
the power of an energetic
and spirited gospel choir
to the inspiring lyrics
and infectious
makes-you-want-to-sing-al
ong music, and you've got
a proven, winning
combination guaranteed to
make your Southern Sunday
choir sound their very
best!
Arranged and
orchestrated by Cliff
Duren, the songs and
arrangements in this new
choral collection are
specially designed and
selected to bring you an
appealing combination of
hit songs and soon-to-be
classics, along with some
fresh, new songs that
your choir can be among
the very first to sing!
Featuring 10 new Cliff
Duren arrangements,
Southern Sundays is
anchored by three
benchmark songs - Jesus
Can Change Your Life,
Alpha and Omega, and the
gospel-influenced, The
Blood Hasn't Ever
Changed. Whether your
choir repertoire is
all-southern-all-the-time
, or simply southern for
special time.
SATB choir, piano accompaniment - easy/moderate SKU: WD.080689705021 Comp...(+)
SATB choir, piano
accompaniment -
easy/moderate
SKU:
WD.080689705021
Composed by Cliff Duren.
Arranged by Cliff Duren.
Choral, cantatas. 17
Songs in 10 Arrangements
featuring Jesus Can
Change Your Life, Alpha
and Omega, The Blood
Hasn't Ever Changes and 7
more. Christmas. Practice
trax. Word Music
#080689705021. Published
by Word Music
(WD.080689705021).
UPC:
080689705021.
Intro
ducing Southern Sundays,
the new Southern Gospel
Choir Series, from WORD
Music! There's nothing
better than the rhythms
and sounds of a great
southern gospel song. Add
the power of an energetic
and spirited gospel choir
to the inspiring lyrics
and infectious
makes-you-want-to-sing-al
ong music, and you've got
a proven, winning
combination guaranteed to
make your Southern Sunday
choir sound their very
best!
Arranged and
orchestrated by Cliff
Duren, the songs and
arrangements in this new
choral collection are
specially designed and
selected to bring you an
appealing combination of
hit songs and soon-to-be
classics, along with some
fresh, new songs that
your choir can be among
the very first to sing!
Featuring 10 new Cliff
Duren arrangements,
Southern Sundays is
anchored by three
benchmark songs - Jesus
Can Change Your Life,
Alpha and Omega, and the
gospel-influenced, The
Blood Hasn't Ever
Changed. Whether your
choir repertoire is
all-southern-all-the-time
, or simply southern for
special time.
SATB choir, piano accompaniment - easy/moderate SKU: WD.080689505676 Comp...(+)
SATB choir, piano
accompaniment -
easy/moderate
SKU:
WD.080689505676
Composed by Cliff Duren.
Arranged by Cliff Duren.
Choral, cantatas. 17
Songs in 10 Arrangements
featuring Jesus Can
Change Your Life, Alpha
and Omega, The Blood
Hasn't Ever Changes and 7
more. Southern Gospel.
Orchestration. Word Music
#080689505676. Published
by Word Music
(WD.080689505676).
UPC:
080689505676.
Intro
ducing Southern Sundays,
the new Southern Gospel
Choir Series, from WORD
Music! There's nothing
better than the rhythms
and sounds of a great
southern gospel song. Add
the power of an energetic
and spirited gospel choir
to the inspiring lyrics
and infectious
makes-you-want-to-sing-al
ong music, and you've got
a proven, winning
combination guaranteed to
make your Southern Sunday
choir sound their very
best!
Arranged and
orchestrated by Cliff
Duren, the songs and
arrangements in this new
choral collection are
specially designed and
selected to bring you an
appealing combination of
hit songs and soon-to-be
classics, along with some
fresh, new songs that
your choir can be among
the very first to sing!
Featuring 10 new Cliff
Duren arrangements,
Southern Sundays is
anchored by three
benchmark songs - Jesus
Can Change Your Life,
Alpha and Omega, and the
gospel-influenced, The
Blood Hasn't Ever
Changed. Whether your
choir repertoire is
all-southern-all-the-time
, or simply southern for
special time.
SATB choir, piano accompaniment - easy/moderate SKU: WD.080689801723 Comp...(+)
SATB choir, piano
accompaniment -
easy/moderate
SKU:
WD.080689801723
Composed by Cliff Duren.
Arranged by Cliff Duren.
Choral, cantatas. 17
Songs in 10 Arrangements
featuring Jesus Can
Change Your Life, Alpha
and Omega, The Blood
Hasn't Ever Changes and 7
more. Eastertide. Bulk CD
(10-pak). Word Music
#080689801723. Published
by Word Music
(WD.080689801723).
UPC:
080689801723.
Intro
ducing Southern Sundays,
the new Southern Gospel
Choir Series, from WORD
Music! There's nothing
better than the rhythms
and sounds of a great
southern gospel song. Add
the power of an energetic
and spirited gospel choir
to the inspiring lyrics
and infectious
makes-you-want-to-sing-al
ong music, and you've got
a proven, winning
combination guaranteed to
make your Southern Sunday
choir sound their very
best!
Arranged and
orchestrated by Cliff
Duren, the songs and
arrangements in this new
choral collection are
specially designed and
selected to bring you an
appealing combination of
hit songs and soon-to-be
classics, along with some
fresh, new songs that
your choir can be among
the very first to sing!
Featuring 10 new Cliff
Duren arrangements,
Southern Sundays is
anchored by three
benchmark songs - Jesus
Can Change Your Life,
Alpha and Omega, and the
gospel-influenced, The
Blood Hasn't Ever
Changed. Whether your
choir repertoire is
all-southern-all-the-time
, or simply southern for
special time.
Recorder SKU: HL.1718680 Hal Leonard Recorder Songbook. By Taylor ...(+)
Recorder
SKU:
HL.1718680
Hal
Leonard Recorder
Songbook. By Taylor
Swift. Recorder. Pop.
Softcover. 48 pages.
Published by Hal Leonard
(HL.1718680).
UPC:
196288267539.
9.0x12.0x0.127
inches.
Swifties
with recorders, unite!
This updated collection
features 24 Swift
favorites from her whole
career through The
Tortured Poets Department
arranged for recorder.
The book includes a handy
fingering chart for
beginners or those who
need a refresher. Songs
include: Anti-Hero â¢
Bad Blood ⢠Blank
Space ⢠Cardigan
⢠Champagne Problems
⢠Cruel Summer
⢠Evermore â¢
Exile ⢠Fortnight
⢠I Knew You Were
Trouble ⢠Lavender
Haze ⢠Loml â¢
Love Story ⢠Lover
⢠The 1 ⢠Our
Song ⢠Shake It Off
⢠Sweet Nothing
⢠22 ⢠We Are
Never Ever Getting Back
Together ⢠Who's
Afraid of Little Old Me?
⢠Willow ⢠You
Belong with Me ⢠You
Need to Calm Down.
Composed by Various.
Arranged by Mark
Phillips. Strum Together.
Christian, General
Worship, Gospel, Hymns,
Sacred. Softcover. 144
pages. Published by Hal
Leonard (HL.365041).
ISBN 9781705135259.
UPC: 840126960624.
9.0x12.0x0.359
inches.
The Strum
Together series enables
players of five different
instruments – or
any combination of them
– to “strum
together†on 70
great songs. This new,
easy-to-use format
features melody, lyrics,
and chord diagrams for
five popular folk
instruments: standard
ukulele, baritone
ukulele, guitar,
mandolin, and banjo. This
collection includes 70
gospel/hymn favorites:
Amazing Grace •
Blessed Be the Name
• Down by the
Riverside • Great
Is Thy Faithfulness
• His Eye Is on the
Sparrow • In the
Garden • Just As I
Am • Love Lifted Me
• Nothing but the
Blood • The Old
Rugged Cross •
Precious Memories •
Rock of Ages •
Shall We Gather at the
River? • There Is a
Balm in Gilead •
What a Friend We Have in
Jesus • When the
Saints Go Marching In
• and more.
The New Decade Series with Online Play-Along Backing Tracks. By Various. Pian...(+)
The New Decade Series
with
Online Play-Along Backing
Tracks. By Various.
Piano/Vocal/Guitar
Songbook.
Pop. Softcover Audio
Online.
480 pages. Published by
Hal
Leonard
SKU: ST.CD0092 Composed by Sydney Carter. A new compilation album of Sydn...(+)
SKU: ST.CD0092
Composed by Sydney
Carter. A new compilation
album of Sydney Carter's
songs and poems sung and
produced by Franciscus
Henri. Only available
from this site. CD.
Stainer & Bell Ltd.
#CD0092. Published by
Stainer & Bell Ltd.
(ST.CD0092).
When Sydney
Carter died in March
2004, his obituary in The
Guardian anointed him
'folk poet, holy sceptic,
and iconoclastic
theologian'. The man who
once called himself
'God's loyal opposition'
might have thought that a
bit excessive, but there
is some truth there and
it is likely he wouldn't
have minded too much.
Franciscus Henri knew the
songs on this CD forty
years ago. In 1972 he was
chosen accompanist on
Sydney's tour of
Australia. These songs
are part of the
performer's continuing
journey.
TRACKS 1 The Candle
light 2 Bell of
Creation 3 My Mum was
a Woman 4 Silver in
the Stubble 5
Mixed-up Old Man 6
Coming or Going Away
7 Green Like the
Leaves 8 Feeling Sad
and Lonely 9 Creator
of the living 10 Crow
on the Cradle 11 Bird
of Heaven 12 Shake
and Shiver 13 Lord of
the Dance 14 Come
Holy Harlequin 15 The
Devil 16 Every Star
shall sing a Carol 17
Travel On 18 Julian
of Norwich 19 Run the
film backwards 20
Child 21 The
Burden 22 The Rat
Race 23 The Holy
Box 24 The Sin of
Being 25
Anonymous 26
Interview.
Easy Piano Piano/Keyboard SKU: HL.282483 The New Decade Series. Co...(+)
Easy Piano Piano/Keyboard
SKU: HL.282483
The New Decade
Series. Composed by
Various. Easy Piano
Songbook. Pop, Rock.
Softcover. 424 pages.
Published by Hal Leonard
(HL.282483).
ISBN
9781540034403. UPC:
888680789275.
9.0x12.0x0.967
inches.
Almost 70
contemporary hits
released since 2010 in
easy piano arrangements
with lyrics: All About
That Bass • Bad
Romance • Brave
• Call Me Maybe
• Cups (When I'm
Gone) • Feel It
Still • Get Lucky
• Happy •
Havana • Hey, Soul
Sister • I Will
Wait • Just Give Me
a Reason • Let It
Go • Mean •
Moves like Jagger •
Need You Now •
Radioactive •
Rolling in the Deep
• Shake It Off
• Stay with Me
• Thinking Out Loud
• Uptown Funk
• We Are Young
• and more.
Choir SKU: WD.080689359231 Composed by David Wise. Arranged by David Wise...(+)
Choir
SKU:
WD.080689359231
Composed by David Wise.
Arranged by David Wise.
Choral. Sacred Anthem,
Eastertide, General.
Octavo. Word Music
#080689359231. Published
by Word Music
(WD.080689359231).
UPC:
080689359231.
This
arrangement is nothing
short of gorgeous and
moving. Lush harmonies
and swelling
accompaniment make this
anthem a must-have for a
church library. Use it
for communion, Easter, or
any service needing a
special, intimate
rendition of the old
favorite paired with a
newer chorus, Nothing
but the Blood with Jesus'
Blood.
Featuring 43 Fiddlers
and 188 of Their
Tunes. Perfect
binding. Folk. Book. 212
pages. Mel Bay
Publications, Inc #30091.
Published by Mel Bay
Publications, Inc
(MB.30091).
ISBN
9781513466378. 8.75 x
11.75
inches.
Appalachian
fiddle music, based on
the musical traditions of
the people who settled in
the mountainous regions
of the southeastern
United States, is
widely-known and played
throughout North America
and parts of Europe
because of its complex
rhythms, its catchy
melodies, and its
often-ancient-sounding
stylistic qualities. The
authors explore the lives
and music of 43 of the
classic Appalachian
fiddlers who were active
during the first half of
the 20th century. Some of
them were recorded
commercially in the
1920s, such as Gid
Tanner, Fiddlin? John
Carson, and Charlie
Bowman. Some were
recorded by folklorists
from the Library of
Congress, such as William
Stepp, Emmett Lundy, and
Marion Reece. Others were
recorded informally by
family members and
visitors, such as John
Salyer, Emma Lee
Dickerson, and Manco
Sneed. All of them played
throughout most of their
lives and influenced the
growth and stylistic
elements of fiddle music
in their regions. Each
fiddler has been given a
chapter with a biography,
several tune
transcriptions, and tune
histories. To show the
richness of the music,
the authors make a
special effort to show
the musical elements in
detail, but also
acknowledge that nothing
can take the place of
listening. Many of the
classic recordings used
in this book can be found
on the web, allowing you
to hear and read the
music together.