Why Charlie Watts Matters. By Charlie Watts and The Rolling Stones. Book. Biography/Composers & Musicians. Softcover. Published by Rowman & Littlefield

Drums

SKU: HL.200804

By Charlie Watts. Book. Drum Reference, Pop Reference. Softcover. 216 pages. Published by Centerstream Publications (HL.200804).

ISBN 9781574243383. UPC: 888680651848. 6x9 inches.

In various interviews over the past 35 years Charlie Watts has expressed admiration for the talents of many drummers. But the fundamental connections of those he has noted as his favorites, help define his particular style, approach, and priorities as the drummer for the “Greatest Rock & Roll Band in the World.” Here then, are 26 biographies of Charlie Watts' favorites drummers. Included are Art Blakey, Chico Hamilton, Art Taylor, Phil Seamen, Ginger Baker, Jerry Allison, Papa Jo Jones, Jim Keltner, Kenny Clarke, Davey Tough, Billy Higgins, Elvin Jones, Roy Haynes, Jake Hanna, Tony Williams, Max Roach, Joe Morello, and Big Sid Catlett.

By Gilbert M. Martin. Arranged by Isaac Watts. Text by Isaac Watts. For SATB, Organ. Published by Theodore Presser Company.

Composed by Nick Strimple (1946-). Nick Strimple Sacred Choral. 12 pages. Pavane Publishing #NS0019. Published by Pavane Publishing (HL.148035).

By Ernie Watts. Arranged by Mike Crotty. For big band. Medium to difficult. Score and parts. Published by Walrus Music Publishing

Composed by Issac Watts. Arranged by Brian L. Hanson. For SATB choir with piano accompaniment. Hymns of Faith Choral Series. General, Lent Holy Week. Octavo. 8 pages. Published by Chorister's Guild

By Hal Hopson / Isaac Watts. Arranged by Lloyd Larson. For SATB choir. Scripture References: Galatians 6:14. Lent, Sacred, Communion. Choral octavo. 8 pages. Published by Hope Publishing Company

By Bruce Eskovitz and Ernie Watts. For Saxophone. Woodwind - Saxophone Duet. Play along. Book & CD. Published by Alfred Publishing.

SS choir and organ (Upper Voices - 2-part) - Very Easy to Easy

SKU: OU.9780193393097

Composed by Charles Villiers Stanford. Arranged by Philip Moore. Upper Voices. Christmas, Choral Leaflet. Vocal score. 8 pages. Duration 2'. Oxford University Press #9780193393097. Published by Oxford University Press (OU.9780193393097).

ISBN 9780193393097. 10 x 7 inches.

For SS and organ This gentle carol sets the text of Isaac Watts' popular 'Cradle Song' to the music of Charles Villiers Stanford's lullaby, 'Golden slumbers, kiss your eyes', from his Six Songs (op. 19), written in 1882.

By Isaac Watts, Fred Bock. (SATB). Fred Bock Publications. Sacred. Published by Fred Bock Music Company.

SATB Choir and Organ

SKU: HL.14035612

Composed by Harold A. Watts. Music Sales America. Classical. Choral Score. Music Sales #NOV400954. Published by Music Sales (HL.14035612).

Edited by Gwyn Michel, composed by Isaac Watts, arranged by Virgil Thomsen. Octavo for SATB choir (A Cappella). With piano rehearsal part. Traditional Southern Hymn tune. D Major. Series: Sacred choral octavo (SATB). 8 pages. Published by Alfred Publishing.

By Mack Wilberg. Arranged by Mack Wilberg. Text: Isaac Watts. For SATB Choir With Soprano Solo. (Accompaniment: Organ). Sacred, Festival. Level: Advanced Adult. 38 pages. Duration 13 min, 26 sec. Published by Hinshaw Music Inc.

Choral SSAA choir

SKU: CF.CM9570

Composed by John Ratledge. Psalms 47 from the Bible. Jbc. Performance Score. With Standard notation. 8 pages. Duration 1 minute, 44 seconds. Carl Fischer Music #CM9570. Published by Carl Fischer Music (CF.CM9570).

ISBN 9781491153581. UPC: 680160911080. 6.75 x 10.5 inches. Key: Bb major. Latin. Psalms 47 from the Bible.

Psalm 47 was commissioned by the Sigma Alpha Iota Chapter of Hardin Simmons University (Abilene, Texas), Suzanne Watts, conductor, back in 1978. I was a graduate student at the time, and the premiere was a great success. Consequently, the work has received many performances since that time; however, it remained unpublished until now. In a modified tripartite structure, the psalmist uses the imperative verb tense as a command to the people: (you clap), (you shout), (you sing) to exemplify that praise and joy should be public, intelligent, cheerful, and constant. The psalmist admonishes that praise and joy are visual, aural, palpable, and most definitely contagious. The contrasting slow section with a soprano solo should be like an accompanied arioso, where the soloist is supported by lush, major/minor seventh chords in inversion (accompanied recitative). The soloist actually becomes the narrator in this section, the preacher or deliverer of the news that the people will be protected, sustained and blessed. The rapid tempo of the A-section returns and the staggered entrances in the last section/coda indicate the ecstasy knowing that belief can manifest itself in individualized, energized, emotional responses that can change the world. Rise up and claim the power of JOY!.
Psalm 47A was commissioned by the Sigma Alpha Iota Chapter of Hardin Simmons University (Abilene, Texas), Suzanne Watts, conductor, back in 1978. I was a graduate student at the time, and the premiere was a great success. Consequently, the work has received many performances since that time; however, it remained unpublished until now. In a modified tripartite structure, the psalmist uses the imperative verb tense as a command to the people:A (you clap), (you shout), (you sing) to exemplify that praise and joy should be public, intelligent, cheerful, and constant. The psalmist admonishes that praise and joy are visual, aural, palpable, and most definitely contagious. The contrasting slow section with a soprano solo should be like an accompanied arioso, where the soloist is supported by lush, major/minor seventh chords in inversion (accompanied recitative). The soloist actually becomes the narrator in this section, the preacher or deliverer of the news that the people will be protected, sustained and blessed. The rapid tempo of the A-section returns and the staggered entrances in the last section/coda indicate the ecstasy knowing that belief can manifest itself in individualized, energized, emotional responses that can change the world. Rise up and claim the power of JOY!.
Psalm 47 was commissioned by the Sigma Alpha Iota Chapter of Hardin Simmons University (Abilene, Texas), Suzanne Watts, conductor, back in 1978. I was a graduate student at the time, and the premiere was a great success. Consequently, the work has received many performances since that time; however, it remained unpublished until now. In a modified tripartite structure, the psalmist uses the imperative verb tense as a command to the people: (you clap), (you shout), (you sing) to exemplify that praise and joy should be public, intelligent, cheerful, and constant. The psalmist admonishes that praise and joy are visual, aural, palpable, and most definitely contagious. The contrasting slow section with a soprano solo should be like an accompanied arioso, where the soloist is supported by lush, major/minor seventh chords in inversion (accompanied recitative). The soloist actually becomes the narrator in this section, the preacher or deliverer of the news that the people will be protected, sustained and blessed. The rapid tempo of the A-section returns and the staggered entrances in the last section/coda indicate the ecstasy knowing that belief can manifest itself in individualized, energized, emotional responses that can change the world. Rise up and claim the power of JOY!.
Psalm 47 was commissioned by the Sigma Alpha Iota Chapter of Hardin Simmons University (Abilene, Texas), Suzanne Watts, conductor, back in 1978. I was a graduate student at the time, and the premiere was a great success. Consequently, the work has received many performances since that time; however, it remained unpublished until now.In a modified tripartite structure, the psalmist uses the imperative verb tense as a command to the people:  (you clap), (you shout), (you sing) to exemplify that praise and joy should be public, intelligent, cheerful, and constant. The psalmist admonishes that praise and joy are visual, aural, palpable, and most definitely contagious. The contrasting slow section with a soprano solo should be like an accompanied arioso, where the soloist is supported by lush, major/minor seventh chords in inversion (accompanied recitative). The soloist actually becomes the narrator in this section, the preacher or deliverer of the news that the people will be protected, sustained and blessed. The rapid tempo of the A-section returns and the staggered entrances in the last section/coda indicate the ecstasy knowing that belief can manifest itself in individualized, energized, emotional responses that can change the world.Rise up and claim the power of JOY!

SATB choir, voice solo, piano accompaniment - Early intermediate

SKU: GI.G-10552

Arranged by Christin Kieckhafer. Good Friday. Choral. Sacred. Octavo. 16 pages. GIA Publications #10552. Published by GIA Publications (GI.G-10552).

English. Text Source: Alas! and Did My Savior Bleed?, Isaac Watts, 1674-1748, alt., At the Cross, Ralph E. Hudson, 1843-1901, alt. Text by Isaac Watts.

“At the Cross” contains the very rich texts of Isaac Watts and Ralph Hudson. My desire is to treat each verse with utmost respect by highlighting—throu gh music—the suffering, shame, hope, beauty, and glory of the cross. The cross embodies all of these attributes. You will notice there is a somberness that begins at m. 84, mirroring the darkness that ensued while Christ hung on the cross (Mark 15:33). A “darker” sound from the altos is encouraged. This is the turning point in the song, preparing the singers for the response to such a sacrifice. Although the text speaks of grief and debt (starting at m. 93), one can see the hope that builds, with the realization that complete surrender is the only response to such a sacrifice. Much thought and energy (under control) should be expended to aid this verse in building to the climactic point of the song, when hope is found in the cross and the burden has been lifted.

Choir; French horn; cello; flute; guitar; oboe; orchestra (flute, oboe, horn in F, cello, bass guitar, and piano)

SKU: HP.C5629O

Composed by Hal H. Hopson. Arranged by Lloyd Larson. Piano Accompaniment with Optional Orchestra. Lent, General Worship, Communion, Sacred. Set of Instrumental Parts. Hope Publishing Company #C5629O. Published by Hope Publishing Company (HP.C5629O).

UPC: 763628256296. Words by Isaac Watts. Galatians 6:14, John 19:25, John 3:16, Luke 23:47-49, Mark 15:38-39, Matthew 27:54, Philippians 3:7-8, Psalms 34:2, Romans 12:1, 1 Corinthians 1:18-24.

Classic Lenten hymn with words by Isaac Watts The familiar Lenten text from Isaac Watts is beautifully paired here with Hal Hopson's tune, GIFT OF LOVE, in this deeply moving choral setting by Lloyd Larson. The addition of the optional instruments provide a stunning orchestral sound. The Orchestration by Mark Kellner contains a Conductor's Score and parts for: Flute, Oboe, Horn in F, Cello, Bass Guitar, and Piano.

SATB choir (SATB choir)

SKU: HP.C6074C

Composed by Mary McDonald. Piano Accompaniment with Optional Orchestra. Lent, Holy Week, Sacred. Performance/Accompaniment CD. Hope Publishing Company #C6074C. Published by Hope Publishing Company (HP.C6074C).

UPC: 763628960742. Words by Isaac Watts.

Familiar hymn tune words by Isaac Watts This inspired choral setting pairs Isaac Watts' well-known hymn text, Alas! And Did My Savior Bleed, with the tune GREENSLEEVES. The familiar text and tune engage us anew bringing fresh insight to this dramatic Lenten lament. This piece comes from Mary's musical My Savior's Love, code no. 8701.

(Hal Leonard Student Piano Library Showcase Duet Level 4). Composed by Jennifer Watts and Mike Watts. For 1 Piano, 4 Hands. Educational Piano Library. Early Intermediate. 8 pages. Published by Hal Leonard

(12 Original Piano Solos - Intermediate Level). By Jennifer Watts and Mike Watts. Educational Piano Solo. Intermediate. Softcover. 40 pages. Published by Hal Leonard

SATB choir, assembly, organ accompaniment, violin 1, violin 2, viola, cello, bass - Intermediate

SKU: GI.G-9190

Composed by George Frideric Handel. Arranged by Richard Proulx. Christmastide, Christmas Vigil, Christmas Night, Christmas Dawn, Christmas Day. Proulx Legacy Series. Tune Name: Antioch. Sacred. Octavo. 16 pages. GIA Publications #9190. Published by GIA Publications (GI.G-9190).

UPC: 785145919003. English. Text Source: Issac Watts, 1674-1748, alt. Text by Isaac Watts.

This setting of “Joy to the World” has a “Handelian” feel, complete with a sly quotation from the “Hallelujah” chorus at the end. Stanzas 2 and 3 are combined and set in fugal fashion. Fun to sing, it will become a favorite of the choir and the congregation! The string bass part is optional.

By English Melody. Arranged by Peter Niedmann. For Voices: 2 mixed voices, descant. Organ. Choral Sacred. Level: 6. Published by GIA Publications.

By Jennifer Watts and Mike Watts. For Piano/Keyboard. Educational Piano Library. Late Elementary. 4 pages. Published by Hal Leonard

SATB choir, organ accompaniment, trumpet 1 in B-flat, trumpet 1 in C, trumpet 2 in B-flat, trumpet 2 in C, trumpet 3 in B-flat, trumpet 3 in C, trombone 1, trombone 2, bass trombone, tuba - Early intermediate

SKU: GI.G-10277

Composed by Robert Lowry. Arranged by Brandon Waddles. African American Church Music Series. Tune Name: Marching To Zion. Sacred. Octavo. 16 pages. GIA Publications #10277. Published by GIA Publications (GI.G-10277).

UPC: 785147027713. English. Text Source: Come, ye that love the Lord, Isaac Watts, 1674-1748, alt., We're marching to Zion, Robert Lowry, 1826-1899, alt. Text by Isaac Watts.