By Johannes Brahms. Arranged by Ed Harris. (2 part). Festival Choral. Festival. Size 6.8x10.5 inches. 8 pages. Published by Hal Leonard.

Performance/Part-Learning CD Choral (VoiceTrax CD)

SKU: HL.8744542

Choral. CD. Published by Hal Leonard (HL.8744542).

UPC: 073999892482. 5.0x5.25x0.199 inches.

High Voice. By Johannes Brahms. Vocal Collection. Size 9x12 inches. 208 pages. Published by G. Schirmer, Inc.

Arranged by Audrey Snyder. (Showtrax CD). Choral. Festival. CD only. Size 5x5.5 inches. Published by Hal Leonard.

Book 3 - Book Only. By Charles Duncan. Guitar. Soundsheet (for record players). Size 9x12 inches. 80 pages. Published by Hal Leonard.

By Janice Killian, Michael O'Hern, Linda Rann. (Tr/st). Essential Elements Choir. Size 8.5x11 inches. 168 pages. Published by Hal Leonard.

Arranged by Audrey Snyder. (SATB). Choral. Festival. Size 6.75x10.5 inches. 16 pages. Published by Hal Leonard.

Level 1 Treble, Teacher. By Michael O'hern, Janice Killian, Linda Rann. (Treble/Teacher Edition). Essential Elements Choir. Size 9x12 inches. 216 pages. Published by Hal Leonard.

Arranged by Audrey Snyder. (2 Part Any Combination). Choral. Festival. Size 6.75x10.5 inches. 16 pages. Published by Hal Leonard.

Level 1 Treble, Student 10-Pak. By Linda Rann, Janice Killian, Michael O'hern. (Treble/Student 10-Pak). Essential Elements Choir. Published by Hal Leonard.

Violin and Piano. By Various. (Violin). String Solo. Size 9x12 inches. 92 pages. Published by Schirmer.

(The World's Great Classical Music) For solo piano. Format: piano solo book. With introductory text and composer biographies. Classical period, romantic period, impressionistic and baroque. 240 pages. 9x12 inches. Published by Hal Leonard.

Choral TBB choir, piano

SKU: CF.CM9594

Composed by Greg Gilpin. Fold. Performance Score. 8 pages. Duration 2 minutes, 50 seconds. Carl Fischer Music #CM9594. Published by Carl Fischer Music (CF.CM9594).

ISBN 9781491154168. UPC: 680160912667. 6.875 x 10.5 inches. Key: Bb major. English. Alfred Tennyson. Alfred, Lord Tennyson (1809-1892).

The text of Alfred, Lord Tennyson's There is Sweet Music Here is a wonderful example of word painting. Keep this in mind while learning to sing the music and try to capture the different scenes created through these famous words. The first two measures of accompaniment outline the opening chord in the voices. Crescendo to the word music every time it occurs. In mm. 710, the vocals cascade gently into a dissonance that develops into a full, rich sound. Allow the piano to support the unison lines in mm. 1417 as well as those that contain three-part singing. The piano establishes a consistent undulating tempo in mm. 2225, as if lulling someone to sleep. Be intentional with word/syllabic stress when singing through the quarter notes. Maintain a consistent tempo when singing the eighth notes in mm. 3336. The chord progression helps establish the coolness of the mosses and ivies. Notice the melodic movement in mm. 3738 reflecting the craggy ledge and hanging poppy followed by the unison sleep which ushers in the return of the original melody within the accompaniment. Linger with quiet, full and supported singing during the last three measures.
The text of Alfred, Lord Tennyson'sA There is Sweet Music HereA is a wonderful example of word painting. Keep this in mind while learning to sing the music and try to capture the different scenes created through these famous words. The first two measures of accompaniment outline the opening chord in the voices. Crescendo to the word music every time it occurs. In mm. 7a10, the vocals cascade gently into a dissonance that develops into a full, rich sound. Allow the piano to support the unison lines in mm. 14a17 as well as those that contain three-part singing. The piano establishes a consistent undulating tempo in mm. 22a25, as if lulling someone to sleep. Be intentional with word/syllabic stress when singing through the quarter notes. Maintain a consistent tempo when singing the eighth notes in mm. 33a36. The chord progression helps establish the coolness of the mosses and ivies. Notice the melodic movement in mm. 37a38 reflecting the craggy ledge and hanging poppy followed by the unison sleep which ushers in the return of the original melody within the accompaniment. Linger with quiet, full and supported singing during the last three measures.
The text of Alfred, Lord Tennyson'sA There is Sweet Music HereA is a wonderful example of word painting. Keep this in mind while learning to sing the music and try to capture the different scenes created through these famous words. The first two measures of accompaniment outline the opening chord in the voices. Crescendo to the word music every time it occurs. In mm. 7a10, the vocals cascade gently into a dissonance that develops into a full, rich sound. Allow the piano to support the unison lines in mm. 14a17 as well as those that contain three-part singing. The piano establishes a consistent undulating tempo in mm. 22a25, as if lulling someone to sleep. Be intentional with word/syllabic stress when singing through the quarter notes. Maintain a consistent tempo when singing the eighth notes in mm. 33a36. The chord progression helps establish the coolness of the mosses and ivies. Notice the melodic movement in mm. 37a38 reflecting the craggy ledge and hanging poppy followed by the unison sleep which ushers in the return of the original melody within the accompaniment. Linger with quiet, full and supported singing during the last three measures.
The text of Alfred, Lord Tennyson's There is Sweet Music Here is a wonderful example of word painting. Keep this in mind while learning to sing the music and try to capture the different scenes created through these famous words. The first two measures of accompaniment outline the opening chord in the voices. Crescendo to the word music every time it occurs. In mm. 7-10, the vocals cascade gently into a dissonance that develops into a full, rich sound. Allow the piano to support the unison lines in mm. 14-17 as well as those that contain three-part singing. The piano establishes a consistent undulating tempo in mm. 22-25, as if lulling someone to sleep. Be intentional with word/syllabic stress when singing through the quarter notes. Maintain a consistent tempo when singing the eighth notes in mm. 33-36. The chord progression helps establish the coolness of the mosses and ivies. Notice the melodic movement in mm. 37-38 reflecting the craggy ledge and hanging poppy followed by the unison sleep which ushers in the return of the original melody within the accompaniment. Linger with quiet, full and supported singing during the last three measures.
The text of Alfred, Lord Tennyson's There is Sweet Music Here is a wonderful example of word painting. Keep this in mind while learning to sing the music and try to capture the different scenes created through these famous words. The first two measures of accompaniment outline the opening chord in the voices. Crescendo to the word music every time it occurs. In mm. 7-10, the vocals cascade gently into a dissonance that develops into a full, rich sound. Allow the piano to support the unison lines in mm. 14-17 as well as those that contain three-part singing. The piano establishes a consistent undulating tempo in mm. 22-25, as if lulling someone to sleep. Be intentional with word/syllabic stress when singing through the quarter notes. Maintain a consistent tempo when singing the eighth notes in mm. 33-36. The chord progression helps establish the coolness of the mosses and ivies. Notice the melodic movement in mm. 37-38 reflecting the craggy ledge and hanging poppy followed by the unison sleep which ushers in the return of the original melody within the accompaniment. Linger with quiet, full and supported singing during the last three measures.
The text of Alfred, Lord Tennyson's There is Sweet Music Here is a wonderful example of word painting. Keep this in mind while learning to sing the music and try to capture the different scenes created through these famous words.The first two measures of accompaniment outline the opening chord in the voices. Crescendo to the word music every time it occurs. In mm. 7–10, the vocals cascade gently into a dissonance that develops into a full, rich sound. Allow the piano to support the unison lines in mm. 14–17 as well as those that contain three-part singing.The piano establishes a consistent undulating tempo in mm. 22–25, as if lulling someone to sleep. Be intentional with word/syllabic stress when singing through the quarter notes.Maintain a consistent tempo when singing the eighth notes in mm. 33–36. The chord progression helps establish the coolness of the mosses and ivies. Notice the melodic movement in mm. 37–38 reflecting the craggy ledge and hanging poppy followed by the unison sleep which ushers in the return of the original melody within the accompaniment.Linger with quiet, full and supported singing during the last three measures.

Book with Online Audio. Composed by Various. Vocal Collection. Children. Softcover Audio Online. Duration 240 seconds. Published by Hal Leonard

By Susan Naylor Callaway. For SATB choir, Unison choir, Finger cymbals and piano (with optional cello). Christmas, Sacred. Sacred Anthem

Lyrics/Chords Ukulele

SKU: HL.232108

By The Beatles. Ukulele. Pop. Softcover. Composed 2014. 384 pages. Hal Leonard #NO91894. Published by Hal Leonard (HL.232108).

ISBN 9781783052738. UPC: 888680677329. 4.5x7.5x0.899 inches.

Complete lyrics and chords to 195 Beatles songs, including: Across the Universe • All My Loving • All You Need Is Love • And I Love Her • Back in the U.S.S.R. • The Ballad of John and Yoko • Birthday • Blackbird • A Day in the Life • Day Tripper • Dear Prudence • Drive My Car • Eight Days a Week • Eleanor Rigby • Good Day Sunshine • Got to Get You into My Life • A Hard Day's Night • Help! • Helter Skelter • Here Comes the Sun • Hey Jude • I Saw Her Standing There • I Want to Hold Your Hand • In My Life • Let It Be • The Long and Winding Road • Lucy in the Sky with Diamonds • Penny Lane • Revolution • Something • Ticket to Ride • Twist and Shout • When I'm Sixty-Four • While My Guitar Gently Weeps • Yellow Submarine • Yesterday • and more. 4-1/2 inches x 7-1/2 inches.

Mid-Elementary Level. By Carolyn C. Setliff. Willis. 4 pages. Published by Willis Music.

By Rolf Lovland, words by Brendan Graham [Secret Garden]. Arranged by Philip Lawson. Choir Secular. Women's Choir. Choral Octavo. Pop Choral. 16 pages. Published by Alfred Music Publishing

Choral Descant, alto voice, soprano voice

SKU: CF.CM9578

Composed by English Carol. Arranged by Ken Berg. Fold. Performance Score. 12 pages. Duration 3 minutes, 52 seconds. Carl Fischer Music #CM9578. Published by Carl Fischer Music (CF.CM9578).

ISBN 9781491154007. UPC: 680160912506. 6.875 x 10.5 inches. Key: E minor. English. William C. Dix.

This is a very well known and beloved tune dating from the time of Henry the VIII in Britain. Therefore, there are lots of slight variations in how people have learned this tune. Please be very careful to make sure all singers agree on the notes actually written. This will make the singers the listeners much more comfortable with your performance. The consonant combination th is very difficult for listeners to hear. Singers should work diligently to be very intentional to articulate the text throughout. The verses are all built in two similar four-measure phrases. Even though the destinations are different, both phrases end with echo words. Therefore, please be careful to sing the second syllable softer than the first. For example,sleep-ing, keep-ing, in the verses. In the repeated refrains, please sing Ma-ry in the same way; it too is an echo word. To bring laud is to bring praise and adoration. A mean estate does not equal angry; it refers to a place of poverty. Part of the reason this is such a well-known and beloved tune is that it is very singable and very lovely. Therefore, when you sing it, always work toward making your very best sound and very best face. You will enjoy your performance more and so will your listeners.
This is a very well known and beloved tune dating from the time of Henry the VIII in Britain. Therefore, there are lots of slight variations in how people have learned this tune. Please be very careful to make sure all singers agree on the notes actually written. This will make the singersA the listeners much more comfortable with your performance. The consonant combination th is very difficult for listeners to hear. Singers should work diligently to be very intentional to articulate the text throughout. The verses are all built in two similar four-measure phrases. Even though the destinations are different, both phrases end with echo words. Therefore, please be careful to sing the second syllable softer than the first. For example,sleep-ing, keep-ing, in the verses. In the repeated refrains, please sing Ma-ry in the same way; it too is an echo word. To bring laud is to bring praise and adoration. A mean estate does not equal angry; it refers to a place of poverty. Part of the reason this is such a well-known and beloved tune is that it is very singable and very lovely. Therefore, when you sing it, always work toward making your very best sound and very best face. You will enjoy your performance more and so will your listeners.
This is a very well known and beloved tune dating from the time of Henry the VIII in Britain. Therefore, there are lots of slight variations in how people have learned this tune. Please be very careful to make sure all singers agree on the notes actually written. This will make the singersA the listeners much more comfortable with your performance. The consonant combination th is very difficult for listeners to hear. Singers should work diligently to be very intentional to articulate the text throughout. The verses are all built in two similar four-measure phrases. Even though the destinations are different, both phrases end with echo words. Therefore, please be careful to sing the second syllable softer than the first. For example,sleep-ing, keep-ing, in the verses. In the repeated refrains, please sing Ma-ry in the same way; it too is an echo word. To bring laud is to bring praise and adoration. A mean estate does not equal angry; it refers to a place of poverty. Part of the reason this is such a well-known and beloved tune is that it is very singable and very lovely. Therefore, when you sing it, always work toward making your very best sound and very best face. You will enjoy your performance more and so will your listeners.
This is a very well known and beloved tune dating from the time of Henry the VIII in Britain. Therefore, there are lots of slight variations in how people have learned this tune. Please be very careful to make sure all singers agree on the notes actually written. This will make the singers the listeners much more comfortable with your performance. The consonant combination th is very difficult for listeners to hear. Singers should work diligently to be very intentional to articulate the text throughout. The verses are all built in two similar four-measure phrases. Even though the destinations are different, both phrases end with echo words. Therefore, please be careful to sing the second syllable softer than the first. For example,sleep-ing, keep-ing, in the verses. In the repeated refrains, please sing Ma-ry in the same way; it too is an echo word. To bring laud is to bring praise and adoration. A mean estate does not equal angry; it refers to a place of poverty. Part of the reason this is such a well-known and beloved tune is that it is very singable and very lovely. Therefore, when you sing it, always work toward making your very best sound and very best face. You will enjoy your performance more and so will your listeners.
This is a very well known and beloved tune dating from the time of Henry the VIII in Britain. Therefore, there are lots of slight variations in how people have learned this tune. Please be very careful to make sureall singers agree on the notes actually written. This will make the singers  the listeners much more comfortable with your performance.The consonant combination th is very difficult for listeners to hear. Singers should work diligently to be very intentional to articulate the text throughout.The verses are all built in two similar four-measure phrases. Even though the destinations are different, both phrases end with echo words. Therefore, please be careful to sing the second syllable softer than the first. For example,sleep-ing, keep-ing, in the verses. In the repeated refrains, please sing Ma-ry in the same way; it too is an echo word.To bring laud is to bring praise and adoration. A mean estate does not equal angry; it refers to a place of poverty.Part of the reason this is such a well-known and beloved tune is that it is very singable and very lovely. Therefore, when you sing it, always work toward making your very best sound and very best face. You will enjoy your performance more and so will your listeners.

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

For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Folk. Series: Hal Leonard Fake Books. 536 pages. 9.6x12 inches. Published by Hal Leonard.

SATB choir, flute, oboe, horn, violiflute, oboe, horn, violin I and II, viola, cello, and bass. - Intermediate

SKU: AU.9781506495217

Composed by David Hurd. Christmas. Augsburg Choral Library. Christian. Score and parts. Augsburg Fortress #9781506495217. Published by Augsburg Fortress (AU.9781506495217).

ISBN 9781506495217. 8.5 x 11 inches.

Conveying the dreamlike mood of the William Blake poem that begins, “Sweet dreams, sleep, sleep happy child, this anthem by David Hurd features sumptuous, jazz-inflected harmonies that gently sway beneath expressive choral writing. The piece was originally published in 1994 for SATB choir with organ. In this new edition, Hurd has added a C instrument part as well as new accompaniment option for flute, oboe, horn, violin I and II, viola, cello, and bass.

SATB choir, organ, opt. C instrument - Early Intermediate

SKU: AU.9781506495200

Composed by David Hurd. Christmas. Augsburg Choral Library. Christian. Octavo. Augsburg Fortress #9781506495200. Published by Augsburg Fortress (AU.9781506495200).

ISBN 9781506495200. 7 x 10.25 inches.

Conveying the dreamlike mood of the William Blake poem that begins, â??Sweet dreams, sleep, sleep happy child, this anthem by David Hurd features sumptuous, jazz-inflected harmonies that gently sway beneath expressive choral writing. The piece was originally published in 1994 for SATB choir with organ. In this new edition, Hurd has added a C instrument part as well as new accompaniment option for flute, oboe, horn, violin I and II, viola, cello, and bass.

(For C Instruments). By Various. For C Instruments. Fake Book. Softcover. 576 pages. Published by Hal Leonard

Edited by Alexander Shealy. For recorder. Format: recorder book (solos, duets, trios). With standard notation, chord names, instructional text, fingering charts and lyrics. Instructional and folk. Series: World's Favorite Series, No. 50. 128 pages. 9x12 inches. Published by Ashley Publications.

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

For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Traditional pop and vocal standards. Series: Hal Leonard Fake Books. 424 pages. 9x12 inches. Published by Hal Leonard.