Composed by Various. For Piano/Vocal/Guitar. Piano/Vocal/Guitar Songbook. Softcover. 400 pages. Published by Hal Leonard

(E-Z Play Today #342). By Various. E-Z Play Today. Softcover. 312 pages. Published by Hal Leonard

(Ukulele Chord Songbook). By Various. For Ukulele. Ukulele. Softcover. 144 pages. Published by Hal Leonard

Arranged by Teena Chinn. For Choir. (SATB Singer's Edition). Choral Octavo. Broadway. Level: Moderate (grade III). Choral Octavo. Published by Alfred Publishing.

Singer's Jazz Anthology - High Voice with Recorded Piano Accompaniments Online. Composed by Various. Singer's Jazz Anthology. Jazz, Standards. Softcover Audio Online. 110 pages. Published by Hal Leonard

By Frank Sinatra. For Vocal, Piano Accompaniment. Vocal Piano. Softcover. 320 pages. Published by Hal Leonard

Singer's Jazz Anthology - Low Voice. Singer's Jazz Anthology. Jazz, Standards. Softcover Audio Online. Published by Hal Leonard

Arranged by Teena Chinn. For Choir. Choral Octavo. Broadway. CD. Published by Alfred Publishing.

Arranged by Teena Chinn. For Choir. (2-part). Choral Octavo. Broadway. Level: Moderate (grade 3). Choral Octavo. 108 pages. Published by Alfred Publishing.

Arranged by Teena Chinn. For Choir. (3-part Mixed). Choral Octavo. Broadway. Level: Moderate (grade 3). Choral Octavo. 108 pages. Published by Alfred Publishing.

(Jazz Play-Along Volume 118). By Various. Jazz Play Along. Softcover with CD. 160 pages. Published by Hal Leonard

Performed by Frank Sinatra. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords). Softcover. Size 9x12 inches. 90 pages. Published by Hal Leonard.

E-Z Play Today #35. By Frank Sinatra. E-Z Play Today (Easy big-note right-hand-only arrangements for piano, organ, and electronic keyboard). Softcover. 48 pages. Published by Hal Leonard.

Songs in the Style of Barbra Streisand Music Minus One Vocals. By Barbra Streisand. Music Minus One. Softcover with CD. 24 pages. Music Minus One #MMO2190. Published by Music Minus One (HL.147460).

(E-Z Play Today #340). By Various. E-Z Play Today. Softcover. 256 pages. Published by Hal Leonard

Edited by Richard Walters. Vocal Collection. Piece for the NFMC Vocal event with the National Federation of Music Clubs (NFMC) Festivals Bulletin 2008-2009-2010. Instruction, Classical. Softcover Audio Online. 224 pages. Published by Hal Leonard

The Ukulele Decade Series. Composed by Various. Ukulele. Pop, Rock. Softcover. 184 pages. Published by Hal Leonard

Tenor Accompaniment CDs. By Various Composers. (Tenor). Vocal Collection. CD only. Size 9x12 inches. 8 pages. Published by Hal Leonard.

Compiled by Richard Walters. For tenor voice and piano. Format: piano/vocal songbook. With vocal melody, piano accompaniment and lyrics. Broadway and vocal standards. 224 pages. 9x12 inches. Published by Hal Leonard.

Fakebook for voice and C instrument. With vocal melody, lyrics, chord names and . Series: Hal Leonard Paperback Songs. 255 pages. Published by Hal Leonard.

2-Part Choral (2-Part)

SKU: HL.1122910

Discovery Level 2. Composed by Frederick Loewe. Arranged by Roger Emerson. Discovery Choral. Broadway, Jazz. Octavo. 8 pages. Duration 145 seconds. Published by Hal Leonard (HL.1122910).

UPC: 196288109419. 6.75x10.5x0.019 inches.

Filled with jazz stylings from swing to scat, this arrangement of “Almost Like Being in Love” is perfect for developing choirs. Choirs will love the bright, upbeat setting with its smooth conversational style and colorful piano accompaniment!

(E-Z Play Today #343). By Various. E-Z Play Today. Softcover. 288 pages. Published by Hal Leonard

Chamber Music harp

SKU: CF.H84

Composed by Marcel Tournier. Edited by Carl Swanson. Collection - Score. Carl Fischer Music #H84. Published by Carl Fischer Music (CF.H84).

ISBN 9781491165539. UPC: 680160924530.

Marce l Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. Over his long career, he added a significant catalogue of very beautiful works to the harp repertoire. Many of his solo works, almost one hundred, have been consistently in print since they were first published. But in recent years harpist Carl Swanson has discovered a treasure trove of pieces by Tournier heretofore unknown and unpublished. These include the Déchiffrages in this edition, as well as songs set for voice, harp, and string quartet, and ensemble arrangements of some of his most beloved works.All of the works that Carl Swanson found were in manuscript only. With the help of the great harpist Catherine Michel, he has put these pieces into playable form, and they are being published for the very first time. He and Catherine often had to re-notate passages to show clearly how they could be played, adding fingerings and musical nuances, tempos, pedals, and pedal diagrams.Tournier wrote these pieces when he was in his 20s, and before he became the impressionistic composer those familiar with his work know so well. They are written in the late nineteenth-century romantic style that was being taught at that time at the Paris Conservatory. They are beautiful short, intermediate level pieces by a first rate composer, and add much needed repertoire to that level of playing.
Marcel Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. He graduated from the Paris Conservatory with a first prize in harp in 1899. He also studied composition there and won a second prize in the prestigious Prix de Rome competition, as well as a first prize in the Rossini competition, another major composition competition of the day. From 1912 to 1948 he taught the harp class at the Paris Conservatory. But composition, and almost entirely, composition for the harp, was the main focus of his life. His published works, including many works for solo harp, a few for harp and other instruments, and several songs, number around one hundred pieces.In 2019, while researching Tournier for my edition MARCEL TOURNIER: 10 Pieces for Solo Harp, I discovered that there was a significant list of pieces by this composer that had never been published and were not included on any inventory of his music. Principal on this list were his déchiffrages (pronounced day-she-frahge, like the second syllable in the word garage).The word déchiffrage means sight-reading exercise, and that was their original purpose. Tournier numbered and dated these pieces, with dates ranging from 1900 to 1910, indicating that they were in all likelihood written for Alphonse Hasselmans’ class at the Paris Conservatory. Tournier was probably told how long to make each one, and how difficult. They range in length from two to four pages, with only one in the whole series extending to five, and from thirty to fifty-five measures, with only one extending to eight-five. The level of difficulty for the whole series is intermediate, with some at the easier end, and others at the middle or upper end.We don’t know if they were intended to test students trying to enter the harp class, or if they were used to test students in the class as they played their exams. The fact that they were never published means that students had to not only sight read them, but sight read them in manuscript form!I worked from digital images of the original manuscripts, which are in the private music library of a harpist in France. She had twenty-seven of these pieces, and this edition is the second in a series of three that will publish, for the first time, all of the ones that I have found thus far. The manuscripts themselves consist of little more than notes on the page: no pedals written in, no fingerings, few if any musical nuances and tempo markings, and no clear indication as to which hand plays which notes. These would have been difficult to sight read indeed! My collaborator Catherine Michel and I added musical nuances, fingerings, pedals and pedal diagrams, and tempo indications to put them into their current condition.At the time these were written, Tournier would have been in his twenties, having just graduated from the harp class himself (1899), and might still have been in the composition class. These are the earliest known pieces that he wrote, and they were written at the very beginning of a cultural revolution and upheaval in Paris that was to completely and profoundly alter musical composition. Tournier himself would eventually be caught up in this new way of composing. But not yet.All of the déchiffrages are written in the late romantic style that was being taught at that time at the Paris Conservatory. Each one is built on a clear musical idea, and the variety over the whole series makes them wonderful to listen to as well as to learn. They are also great technical lessons for intermediate level players.The obvious question is: Why didn’t Tournier publish these pieces, and why didn’t he list them on his own inventory of his music? Actually, four of them were published, with small changes, as his collection Four Preludes, Op. 16. These came from the ones that will be in volume three of this series from Carl Fischer. His first large piece, Theme and Variations, was published in 1908, and his two best known and frequently played pieces, Féerie and Au Matin, followed in 1912 and 1913 respectively. We can only speculate because there is so much still unknown about Tournier and about these unpublished pieces. He may have looked at them, fresh out of school as he was, as simply a way to make some quick money. The first several pieces that he did publish are much longer than any of the déchiffrages. So it could be that, because of their shorter length, as well as the earlier musical style that he was moving away from, he chose not to publish any more of them. We may never know the full story. But all these years later, more than a century after they were composed, we can listen to them for their own merits, and not measured against whatever else was going on at the time. The numbers on these pieces are the ones that Tournier assigned to them, and the gaps between some of the numbers suggest that there are perhaps thirty or more of these pieces still to be found, if they still exist. They will, in all likelihood, be found, as these were, in private collections of harp music, not in institutional libraries. We can only hope that more of them will be located in years to come.—Carl SwansonGlossary of French Musical TermsTournier was very precise about how he wanted his pieces played, and carefully communicated this with many musical indications. He used standard Italian words, but also used French words and phrases, and occasionally mixed both together. It is extremely important to observe and understand everything that he put on the page.Here is a list of the French words and phrases found in the pieces in this edition, with their translation.bien chanté well sung, melodiousdécidé firm, resolutediminu peu à peu becoming softer little by littleen diminuant becoming softeren riten. slowing downen se perdant dying awayGaiement gayly, lightlygracieusement gracefully, elegantlyLéger light, quickLent slowmarquez le chant emphasize the melodyModéré at a moderate tempopeu à peu animé more lively, little by littleplus lent slowerRetenu held backsans lenteur without slownesssans retinir without slowing downsec drily, abruptlysoutenu sustained, heldtrès arpegé very arpeggiatedTrès Modéré Very moderate tempoTrès peu retenu slightly held backTrès soutenu very sustainedun peu retenu slightly held back.