Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe
SKU:
CF.WF229
15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229).
(An Inspiring Method to Playing the Drums, Guided by the Legends). By Rich Lacko...(+)
(An Inspiring Method to
Playing the Drums, Guided
by the Legends). By Rich
Lackowski. For Drumset.
Artist/Personality; Book;
DVD; Method/Instruction;
Percussion - Drum Set
Method or Collection. On
the Beaten Path.
Beginner. 136 pages.
Published by Alfred Music
Publishing
Malaika Chorale SATB SATB, Percussion(s) Carl Fischer
Angel. Composed by Fadhilli William Mdawida. Arranged by Russell L. Robinson. ...(+)
Angel. Composed by
Fadhilli
William Mdawida. Arranged
by
Russell L. Robinson. Sws.
Octavo. 16 pages.
Duration 3
minutes, 4 seconds. Carl
Fischer Music #CM9650.
Published by Carl Fischer
Music
Piano, Vocal and Guitar SKU: HL.14030556 Composed by Alison Hedger. Music...(+)
Piano, Vocal and Guitar
SKU: HL.14030556
Composed by Alison
Hedger. Music Sales
America. Musical
Education. Book
[Softcover]. Composed
2017. 32 pages. Music
Sales #GA11042. Published
by Music Sales
(HL.14030556).
ISBN
9780711962279. UPC:
884088432898. 9x12
inches.
English.
This
Nativity, with its eight
delightful new songs,
will captivate the hearts
of family and friends. It
is suitable for school or
church, and for mixed
ages and abilities. As
the Biblical story
unfods, Roman soldiers
are dutifully carrying
out their tasks, many
miles from their
homeland. Why is everyone
so interested in the
stable? By the end of the
story, the Roman soldiers
have also entered the
stable and praise the
Baby King. Duration: 30
mins. Script available in
student book. If you need
to license a school/youth
theatre performance of
this product, please use
the online application
form.
(Get Your Fingers to Play What's in Your Head). Composed by Scott A. Smith. For ...(+)
(Get Your Fingers to Play
What's in Your Head).
Composed by Scott A.
Smith. For Guitar. Book;
DVD; Guitar Method or
Supplement;
Method/Instruction.
Serious Blues. Blues. 56
pages. Published by
Alfred Music
Choral SSAA choir SKU: CF.CM9616 Composed by John Ratledge. Fold. Jbc. Pe...(+)
Choral SSAA choir
SKU:
CF.CM9616
Composed by
John Ratledge. Fold. Jbc.
Performance. 12 pages.
Duration 4 minutes, 2
seconds. Carl Fischer
Music #CM9616. Published
by Carl Fischer Music
(CF.CM9616).
ISBN
9781491156711. UPC:
680160915255. 6.875 x
10.5 inches. Key: C
major. English. Thomas
Troeger.
This SSAA
work, originally written
for SATB voices
celebrates the tenth
anniversary of the
Masterworks Community
Chorale in Newnan,
Georgia. The
inspirational text is
Somewhere I Have Never
Traveled, a text by the
Yale Theologian, Thomas
Troeger. Somewhere I Have
Never Traveled has
potential for building
tone and creating a
panorama of colors, while
at the same time creating
emotional soundscapes,
all through a delightful
text that creates a
dreamlike
innocence. It has been
a joy to re-voice this
original SATB composition
for SSAA voices and to
collaborate with Heather
Orr at Montgomery High
School. In July 2014, my
dear friend Kathy Bizarth
commissioned me to
compose a new work
celebrating the tenth
anniversary of the
Masterworks Community
Chorale in Newnan,
Georgia. It was in
September when we agreed
on the inspirational
text, Somewhere I Have
Never Traveled, a text by
the Yale Theologian,
Thomas Troeger. I moved
to Italy in January for a
sabbatical, and in
February, I spent four
days composing the piece
at the Palazzo Bassi
Brugnatelli, a dear
friend's villa in
Robbiate, Italy.
Interestingly enough, the
middle part of the piece
(mm. 30-39) and end of
the piece came first (mm.
40-62). Completed in
Conegliano in late
February, this
composition is very
special to me as it was
the first composition I
wrote after my mother
died, and it was also
composed for a dear
friend. I have a profound
connection to what I hope
will be a deeply
inspirational composition
to those who sing it.
Somewhere I Have Never
Traveled has real
potential for building
tone and creating a
panorama of colors, while
at the same time creating
emotional soundscapes,
all through a delightful
text that creates a
dreamlike innocence.
Somewhere I have never
traveled is the place I
want to be... (Me
too.). It has been a
joy to re-voice this
original SATB composition
for SSAA voices and to
collaborate with Heather
Orr at Montgomery High
School. In July 2014, my
dear friend Kathy Bizarth
commissioned me to
compose a new work
celebrating the tenth
anniversary of the
Masterworks Community
Chorale in Newnan,
Georgia. It was in
September when we agreed
on the inspirational
text, Somewhere I Have
Never Traveled, a text by
the Yale Theologian,
Thomas Troeger. I moved
to Italy in January for a
sabbatical, and in
February, I spent four
days composing the piece
at the Palazzo Bassi
Brugnatelli, a dear
friend’s villa in
Robbiate, Italy.
Interestingly enough, the
middle part of the piece
(mm. 30-39) and end of
the piece came first (mm.
40-62). Completed in
Conegliano in late
February, this
composition is very
special to me as it was
the first composition I
wrote after my mother
died, and it was also
composed for a dear
friend. I have a profound
connection to what I hope
will be a deeply
inspirational composition
to those who sing
it.Somewhere I Have Never
Traveled has real
potential for building
tone and creating a
panorama of colors, while
at the same time creating
emotional soundscapes,
all through a delightful
text that creates a
dreamlike
innocence.Somewhere I
have never traveled is
the place I want to be...
(Me too.).
Piano, Vocal and Guitar - Grade 2 SKU: HL.14011400 Composed by Debbie Cam...(+)
Piano, Vocal and Guitar -
Grade 2
SKU:
HL.14011400
Composed
by Debbie Campbell. Music
Sales America. Musical
Education. Book
[Softcover]. Composed
2015. 16 pages. Music
Sales #GA11014. Published
by Music Sales
(HL.14011400).
ISBN
9780711956056.
9.0x12.0x0.052 inches.
English.
A fun
space adventure musical
full of information on
technology, the solar
system and travel. Ideal
as an end of term
production at any time of
the year. Duration: 45
mins. If you need to
license a school/youth
theatre performance of
this product, please use
the online application
form.
Orchestra Bass Clarinet,
Bass Trombone, Bassoon 1,
Bassoon 2, Cello,
Clarinet in Bb 1,
Clarinet in Bb 2,
Clarinet in Bb 3,
Contrabassoon, Double
Bass, English Horn, Flute
1, Flute 2, Flute 3,
Harp, Horn 1, Horn 3,
Horn 4, Oboe 1, Oboe 2,
Percussion 1 and more.
SKU: PR.11642143L
Composed by Stacy Garrop.
Spiral. Large Score. 68
pages. Duration 20
minutes. Theodore Presser
Company #116-42143L.
Published by Theodore
Presser Company
(PR.11642143L).
UPC:
680160693320. 11 x 17
inches.
For most of
my life, I never knew
where my father’s
family came from, beyond
a few broad strokes: they
had emigrated in the
early 1900s from Eastern
Europe and altered the
family name along the
way. This radically
changed in the summer of
2021 when my mother and
sister came across a
folder in our family
filing cabinet and made
an astounding discovery
of documents that
revealed when, where, and
how my great-grandfather
came to America. The
information I had been
seeking was at home all
along, waiting over forty
years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craft Berko’s
Journey, I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1, Leaving
Ekaterinoslav, we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2, In
Transit, we follow Berko
as he boards a train and
then a steamship, sails
across the Atlantic
Ocean, arrives at Ellis
Island and anxiously
waits in line for
immigration, jubilantly
steps foot into New York
City, and finally boards
a train that will take
him to Chicago. While
he’s on the steamship,
we hear a group of fellow
steerage musicians play a
klezmer tune
(“Freylachs in d
minor”). In movement
3, At Home in Omaha, we
hear Berko court and
marry Anna. Their
courtship is represented
by “Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and
Anna. For most of my
life, I never knew where
my father’s family came
from, beyond a few broad
strokes: they had
emigrated in the early
1900s from Eastern Europe
and altered the family
name along the way. This
radically changed in the
summer of 2021 when my
mother and sister came
across a folder in our
family filing cabinet and
made an astounding
discovery of documents
that revealed when,
where, and how my
great-grandfather came to
America. The information
I had been seeking was at
home all along, waiting
over forty years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craftxa0Berko’s
Journey,xa0I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1,xa0Leaving
Ekaterinoslav,xa0we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2,xa0In
Transit,xa0we follow
Berko as he boards a
train and then a
steamship, sails across
the Atlantic Ocean,
arrives at Ellis Island
and anxiously waits in
line for immigration,
jubilantly steps foot
into New York City, and
finally boards a train
that will take him to
Chicago. While he’s on
the steamship, we hear a
group of fellow steerage
musicians play a klezmer
tune (“Freylachs in d
minor”). In movement
3,xa0At Home in
Omaha,xa0we hear Berko
court and marry Anna.
Their courtship is
represented by
“Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and Anna.
Orchestra Bass Clarinet,
Bass Trombone, Bassoon 1,
Bassoon 2, Cello,
Clarinet in Bb 1,
Clarinet in Bb 2,
Clarinet in Bb 3,
Contrabassoon, Double
Bass, English Horn, Flute
1, Flute 2, Flute 3,
Harp, Horn 1, Horn 3,
Horn 4, Oboe 1, Oboe 2,
Percussion 1 and more.
SKU: PR.11642143S
Composed by Stacy Garrop.
Sws. Score. 68 pages.
Duration 20 minutes.
Theodore Presser Company
#116-42143S. Published by
Theodore Presser Company
(PR.11642143S).
UPC:
680160693313. 11 x 17
inches.
For most of
my life, I never knew
where my father’s
family came from, beyond
a few broad strokes: they
had emigrated in the
early 1900s from Eastern
Europe and altered the
family name along the
way. This radically
changed in the summer of
2021 when my mother and
sister came across a
folder in our family
filing cabinet and made
an astounding discovery
of documents that
revealed when, where, and
how my great-grandfather
came to America. The
information I had been
seeking was at home all
along, waiting over forty
years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craft Berko’s
Journey, I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1, Leaving
Ekaterinoslav, we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2, In
Transit, we follow Berko
as he boards a train and
then a steamship, sails
across the Atlantic
Ocean, arrives at Ellis
Island and anxiously
waits in line for
immigration, jubilantly
steps foot into New York
City, and finally boards
a train that will take
him to Chicago. While
he’s on the steamship,
we hear a group of fellow
steerage musicians play a
klezmer tune
(“Freylachs in d
minor”). In movement
3, At Home in Omaha, we
hear Berko court and
marry Anna. Their
courtship is represented
by “Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and
Anna. For most of my
life, I never knew where
my father’s family came
from, beyond a few broad
strokes: they had
emigrated in the early
1900s from Eastern Europe
and altered the family
name along the way. This
radically changed in the
summer of 2021 when my
mother and sister came
across a folder in our
family filing cabinet and
made an astounding
discovery of documents
that revealed when,
where, and how my
great-grandfather came to
America. The information
I had been seeking was at
home all along, waiting
over forty years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craftxa0Berko’s
Journey,xa0I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1,xa0Leaving
Ekaterinoslav,xa0we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2,xa0In
Transit,xa0we follow
Berko as he boards a
train and then a
steamship, sails across
the Atlantic Ocean,
arrives at Ellis Island
and anxiously waits in
line for immigration,
jubilantly steps foot
into New York City, and
finally boards a train
that will take him to
Chicago. While he’s on
the steamship, we hear a
group of fellow steerage
musicians play a klezmer
tune (“Freylachs in d
minor”). In movement
3,xa0At Home in
Omaha,xa0we hear Berko
court and marry Anna.
Their courtship is
represented by
“Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and Anna.
A Mini-Musical for Unison Voices. By Sally K. Albrecht, Jay Althouse. Children's...(+)
A Mini-Musical for Unison
Voices. By Sally K.
Albrecht, Jay Althouse.
Children's Musicals and
Programs. Choral. Score.
40 pages. Published by
Alfred Publishing.
By The Traveling Wilburys. Piano/Vocal/Chords Songbook (Arrangements for piano a...(+)
By The Traveling
Wilburys.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords).
Softcover. 114 pages.
Published by Hal Leonard.
(An Inspiring Method to Playing the Drums, Guided by the Legends). By Rich Lacko...(+)
(An Inspiring Method to
Playing the Drums, Guided
by the Legends). By Rich
Lackowski. For Drumset.
Artist/Personality; DVD;
Method/Instruction;
Percussion - Drum Set
Method or Collection. On
the Beaten Path.
Beginner. Published by
Alfred Music
(An Inspiring Method to Playing the Drums, Guided by the Legends). By Rich Lacko...(+)
(An Inspiring Method to
Playing the Drums, Guided
by the Legends). By Rich
Lackowski. For Drumset.
Book; CD;
Method/Instruction;
Percussion - Drum Set
Method or Collection.
Beginner. 48 pages.
Published by Alfred Music
Publishing
(An Inspiring Method to Playing the Drums, Guided by the Legends). Composed by R...(+)
(An Inspiring Method to
Playing the Drums, Guided
by the Legends). Composed
by Rich Lackowski. For
Drumset.
Artist/Personality; Book;
CD; DVD;
Method/Instruction;
Percussion - Drum Set
Method or Collection. On
the Beaten Path.
Beginner. Published by
Alfred Music
Features the music of David Shaffer, Warren Barker, Lennie Niehaus, Quincy Hilli...(+)
Features the music of
David Shaffer, Warren
Barker, Lennie Niehaus,
Quincy Hilliard, Barry
Kopetz and Andre Jutras,
who are among the premier
composers of wind band
music in the world today.
From the bright fanfares
of David Shaffer's Flight
Of The Pegasus to the
lush flowing melodic
lines in Warren Barker's
superb arrangement of the
Welsh standard, Danny
Boy, this is music
everyone will
enjoy!
compiled by Dr. Ed Whitcomb. For Fiddle. songbook. Canadian. Level: Beginning-In...(+)
compiled by Dr. Ed
Whitcomb. For Fiddle.
songbook. Canadian.
Level:
Beginning-Intermediate.
Book. Size 8.75x11.75.
224 pages. Published by
Mel Bay Publications,
Inc.
(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