Fakebook for voice and C instrument. With vocal melody, lyrics, chord names and ...(+)
Fakebook for voice and C
instrument. With vocal
melody, lyrics, chord
names and guitar chord
guide. Series: Hal
Leonard Paperback Songs.
255 pages. Published by
Hal Leonard.
51 Hits from the '70s to '90s (Piano/Vocal). Composed by various c...(+)
51 Hits from the
'70s to
'90s (Piano/Vocal).
Composed
by various composers and
arrangers. This edition:
Piano/Vocal/Guitar. Book;
P/V/C Mixed Folio;
Piano/Vocal/Chords. Best
Top
40 Songs. Pop. 272 pages.
Published by Alfred Music
By Erik Morales. Young Band. FJH Young Band. Score for this title: B1314S. Conce...(+)
By Erik Morales. Young
Band. FJH Young Band.
Score for this title:
B1314S. Concert Band.
Level: 2.5. Score and Set
of Parts. Composed 2006.
Published by The FJH
Music Company Inc.
For Ukulele, Baritone
Ukulele, Guitar, Banjo &
Mandolin. Composed by
Various. Strum Together.
Christmas, Christmas
Secular, Contemporary.
Softcover. 88 pages.
Published by Hal Leonard
(HL.278101).
ISBN
9781540029485. UPC:
888680752002.
9.0x12.0x0.222
inches.
The Strum
Together series enables
players of five different
instruments – or any
combination of them –
to “strum together”
on over 40 great songs.
This easy-to-use format
features melody, lyrics,
and chord diagrams for
standard ukulele,
baritone ukulele, guitar,
mandolin, and banjo.
Songs include: Angels We
Have Heard on High •
Away in a Manger • Blue
Christmas • Deck the
Hall • The First Noel
• Go, Tell It on the
Mountain • A Holly
Jolly Christmas • It
Came upon the Midnight
Clear • Jingle Bells
• Mele Kalikimaka • O
Come, All Ye Faithful •
Rudolph the Red-Nosed
Reindeer • Silent Night
• Up on the Housetop
• We Wish You a Merry
Christmas • and
more.
(25 Famous Guitar & Bass Parts Adapted for Diatonic Harp). For Harmonica. Harmon...(+)
(25 Famous Guitar & Bass
Parts Adapted for
Diatonic Harp). For
Harmonica. Harmonica.
Softcover with CD. Guitar
tablature. 48 pages.
Published by Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
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.
Composed by Traditional
African-American
Spiritual. Arranged by
Kevin Phillip Johnson.
Set of Score and Parts.
44+32+2 pages. Duration 4
minutes, 5 seconds. Carl
Fischer Music #CM9743IN.
Published by Carl Fischer
Music (CF.CM9743IN).
ISBN 9781491162231.
UPC: 680160920990. Key: E
minor. English. Iyana
Davis. Negro Spiritual
with Rap crafter by Ayana
Davis.
This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this version.
The composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences. The text of
this spiritual has been
interpreted in many
different ways over the
years. Here's a popular
interpretation of the
text. One for the little
bitty baby born, born,
born in Bethlehem: This
refers to the infant
Jesus. Two for Paul and
Silas: This verse honors
Paul and Silas who went
on many missionary
journeys to spread the
teachings of Christ.
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for the
four that stood at the
door: Many people
interpret the four to be
the four writers of the
Gospel books - Matthew,
Mark, Luke and John,
though this does not
explain the part about
standing at the door.
Five for the gospel
preachers: The five are
Matthew, Mark, Luke, John
and Peter. Paul is
already mentioned above,
in line two. Six for the
six that never got fixed:
Could this mean the
sinners who never change
their ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be the seven
stars in Ursa Major or
the sevenfold spirit of
God or the seven early
Christian churches or the
seven stars in the right
hand of Christ mentioned
in the Revelation. Eight
for the eight that stood
at the gate: This could
refer to the eight people
who entered Noah's ark
(Noah, his wife, their
three sons and their
wives). Nine for the nine
that dressed so fine:
This could refer to the
nine orders of Angels in
heaven. Ten for the ten
commandments: This refers
to the ten commandments
given to Moses.
Performance notes: Swing
the 8th notes Djembe
drums should be played
freely with flexible
precision The rap can be
optional The ending solo
can be sung down an
octave and can be changed
to match the ability of
the soloist. Do not clap
louder than you sing If
doing choral movement on
the piece, pay attention
to detail synchronizing
movements as much as
possible. While the rap
is words in rhythm, if
adding one is not
possible for your
performance, consider a
spoken word of your own
choosing Have
fun!. This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this
version. The composer,
like his father, uses
rhythm in exciting new
ways to deliver Negro
Spirituals to
contemporary
audiences.The text of
this spiritual has been
interpreted in many
different ways over the
years. Here's a popular
interpretation of the
text. One for the little
bitty baby born, born,
born in Bethlehem: This
refers to the infant
Jesus. Two for Paul and
Silas: This verse honors
Paul and Silas who went
on many missionary
journeys to spread the
teachings of Christ.
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for the
four that stood at the
door: Many people
interpret the four to be
the four writers of the
Gospel books – Matthew,
Mark, Luke and
John, though this does
not explain the part
about standing at the
door. Five for the gospel
preachers: The five are
Matthew, Mark, Luke, John
and Peter. Paul is
already mentioned above,
in line two. Six for the
six that never got fixed:
Could this mean the
sinners who never change
their ways? Seven for
the seven that went up to
heaven: The seven in
heaven could be
the seven stars in Ursa
Major or the sevenfold
spirit of God or the
seven early Christian
churches or the seven
stars in the
right hand of Christ
mentioned in the Revel
ation. Eight for the
eight that stood at the
gate: This could refer to
the eight people who
entered Noah’s ark
(Noah, his wife, their
three sons and their
wives). Nine for the nine
that dressed so fine:
This could refer to the
nine orders of Angels in
heaven. Ten for the ten
commandments: This refers
to the ten commandments
given to
Moses.Performance notes:
Swing the 8th notes
Djembe drums should be
played freely with
flexible precision The
rap can be optional The
ending solo can be sung
down an octave and can be
changed to match the
ability of the soloist.
Do not clap louder than
you sing If doing choral
movement on the piece,
pay attention to detail
synchronizing movements
as much as possible.
While the rap is words in
rhythm, if adding one is
not possible for your
performance, consider a
spoken word of your own
choosing Have fun!
Choral SATB Choir, Bass Guitar, Percussion, Piano SKU: CF.CM9743 Composed...(+)
Choral SATB Choir, Bass
Guitar, Percussion, Piano
SKU: CF.CM9743
Composed by Traditional
African-American
Spiritual. Arranged by
Kevin Phillip Johnson. 20
pages. Duration 4
minutes, 5 seconds. Carl
Fischer Music #CM9743.
Published by Carl Fischer
Music (CF.CM9743).
ISBN 9781491161562.
UPC: 680160920211. Key: E
minor. English. Iyana
Davis. Negro Spiritual
with Rap crafter by Ayana
Davis.
This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this version.
The composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences. The text of
this spiritual has been
interpreted in many
different ways over the
years. Here's a popular
interpretation of the
text. One for the little
bitty baby born, born,
born in Bethlehem: This
refers to the infant
Jesus. Two for Paul and
Silas: This verse honors
Paul and Silas who went
on many missionary
journeys to spread the
teachings of Christ.
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for the
four that stood at the
door: Many people
interpret the four to be
the four writers of the
Gospel books - Matthew,
Mark, Luke and John,
though this does not
explain the part about
standing at the door.
Five for the gospel
preachers: The five are
Matthew, Mark, Luke, John
and Peter. Paul is
already mentioned above,
in line two. Six for the
six that never got fixed:
Could this mean the
sinners who never change
their ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be the seven
stars in Ursa Major or
the sevenfold spirit of
God or the seven early
Christian churches or the
seven stars in the right
hand of Christ mentioned
in the Revelation. Eight
for the eight that stood
at the gate: This could
refer to the eight people
who entered Noah's ark
(Noah, his wife, their
three sons and their
wives). Nine for the nine
that dressed so fine:
This could refer to the
nine orders of Angels in
heaven. Ten for the ten
commandments: This refers
to the ten commandments
given to Moses.
Performance notes: Swing
the 8th notes Djembe
drums should be played
freely with flexible
precision The rap can be
optional The ending solo
can be sung down an
octave and can be changed
to match the ability of
the soloist. Do not clap
louder than you sing If
doing choral movement on
the piece, pay attention
to detail synchronizing
movements as much as
possible. While the rap
is words in rhythm, if
adding one is not
possible for your
performance, consider a
spoken word of your own
choosing Have
fun!. This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this
version. The composer,
like his father, uses
rhythm in exciting new
ways to deliver Negro
Spirituals to
contemporary
audiences.The text of
this spiritual has been
interpreted in many
different ways over the
years. Here's a popular
interpretation of the
text. One for the little
bitty baby born, born,
born in Bethlehem: This
refers to the infant
Jesus. Two for Paul and
Silas: This verse honors
Paul and Silas who went
on many missionary
journeys to spread the
teachings of Christ.
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for the
four that stood at the
door: Many people
interpret the four to be
the four writers of the
Gospel books – Matthew,
Mark, Luke and
John, though this does
not explain the part
about standing at the
door. Five for the gospel
preachers: The five are
Matthew, Mark, Luke, John
and Peter. Paul is
already mentioned above,
in line two. Six for the
six that never got fixed:
Could this mean the
sinners who never change
their ways? Seven for
the seven that went up to
heaven: The seven in
heaven could be
the seven stars in Ursa
Major or the sevenfold
spirit of God or the
seven early Christian
churches or the seven
stars in the
right hand of Christ
mentioned in the Revel
ation. Eight for the
eight that stood at the
gate: This could refer to
the eight people who
entered Noah’s ark
(Noah, his wife, their
three sons and their
wives). Nine for the nine
that dressed so fine:
This could refer to the
nine orders of Angels in
heaven. Ten for the ten
commandments: This refers
to the ten commandments
given to
Moses.Performance notes:
Swing the 8th notes
Djembe drums should be
played freely with
flexible precision The
rap can be optional The
ending solo can be sung
down an octave and can be
changed to match the
ability of the soloist.
Do not clap louder than
you sing If doing choral
movement on the piece,
pay attention to detail
synchronizing movements
as much as possible.
While the rap is words in
rhythm, if adding one is
not possible for your
performance, consider a
spoken word of your own
choosing Have fun!
Composed by Traditional
African American
Spiritual. Arranged by
Kevin Phillip Johnson. 16
pages. Duration 4
minutes, 5 seconds. Carl
Fischer Music #CM9742.
Published by Carl Fischer
Music (CF.CM9742).
ISBN 9781491161555.
UPC: 680160920204. Key: E
minor. English. Iyana
Davis.
This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this version.
The composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences. The text of
this spiritual has been
interpreted in many
different ways over the
years. Here's a popular
interpretation of the
text. One for the little
bitty baby born, born,
born in Bethlehem: This
refers to the infant
Jesus. Two for Paul and
Silas: This verse honors
Paul and Silas who went
on many missionary
journeys to spread the
teachings of Christ.
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for the
four that stood at the
door: Many people
interpret the four to be
the four writers of the
Gospel books - Matthew,
Mark, Luke and John,
though this does not
explain the part about
standing at the door.
Five for the gospel
preachers: The five are
Matthew, Mark, Luke, John
and Peter. Paul is
already mentioned above,
in line two. Six for the
six that never got fixed:
Could this mean the
sinners who never change
their ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be the seven
stars in Ursa Major or
the sevenfold spirit of
God or the seven early
Christian churches or the
seven stars in the right
hand of Christ mentioned
in the Revelation. Eight
for the eight that stood
at the gate: This could
refer to the eight people
who entered Noah's ark
(Noah, his wife, their
three sons and their
wives). Nine for the nine
that dressed so fine:
This could refer to the
nine orders of Angels in
heaven. Ten for the ten
commandments: This refers
to the ten commandments
given to Moses.
Performance notes: Swing
the 8th notes Djembe
drums should be played
freely with flexible
precision The rap can be
optional The ending solo
can be sung down an
octave and can be changed
to match the ability of
the soloist. Do not clap
louder than you sing If
doing choral movement on
the piece, pay attention
to detail synchronizing
movements as much as
possible. While the rap
is words in rhythm, if
adding one is not
possible for your
performance, consider a
spoken word of your own
choosing Have
fun!. This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this
version. The composer,
like his father, uses
rhythm in exciting new
ways to deliver Negro
Spirituals to
contemporary
audiences.The text of
this spiritual has been
interpreted in many
different ways over the
years. Here's a popular
interpretation of the
text. One for the little
bitty baby born, born,
born in Bethlehem: This
refers to the infant
Jesus. Two for Paul and
Silas: This verse honors
Paul and Silas who went
on many missionary
journeys to spread the
teachings of Christ.
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for the
four that stood at the
door: Many people
interpret the four to be
the four writers of the
Gospel books – Matthew,
Mark, Luke and
John, though this does
not explain the part
about standing at the
door. Five for the gospel
preachers: The five are
Matthew, Mark, Luke, John
and Peter. Paul is
already mentioned above,
in line two. Six for the
six that never got fixed:
Could this mean the
sinners who never change
their ways? Seven for
the seven that went up to
heaven: The seven in
heaven could be
the seven stars in Ursa
Major or the sevenfold
spirit of God or the
seven early Christian
churches or the seven
stars in the
right hand of Christ
mentioned in the Revel
ation. Eight for the
eight that stood at the
gate: This could refer to
the eight people who
entered Noah’s ark
(Noah, his wife, their
three sons and their
wives). Nine for the nine
that dressed so fine:
This could refer to the
nine orders of Angels in
heaven. Ten for the ten
commandments: This refers
to the ten commandments
given to
Moses.Performance notes:
Swing the 8th notes
Djembe drums should be
played freely with
flexible precision The
rap can be optional The
ending solo can be sung
down an octave and can be
changed to match the
ability of the soloist.
Do not clap louder than
you sing If doing choral
movement on the piece,
pay attention to detail
synchronizing movements
as much as possible.
While the rap is words in
rhythm, if adding one is
not possible for your
performance, consider a
spoken word of your own
choosing Have fun!
SKU: GI.G-1064 Composed by Tony Alonso S.J. Sacred. GIA Publications #106...(+)
SKU: GI.G-1064
Composed by Tony Alonso
S.J. Sacred. GIA
Publications #1064.
Published by GIA
Publications (GI.G-1064).
UPC:
785147006428.
From
the music of the Buena
Vista Social Club to
Gloria Estefan, the
lyrical melodies and
infectious rhythms of
Cuban music have become
embedded in U.S. culture.
With Caminemos con Jesús
/ Let Us Walk with Jesus,
composer Tony Alonso
presents a groundbreaking
collection of liturgical
music that calls on his
own Cuban musical
heritage to provide new
ways of singing the
liturgy in Spanish,
English or bilingually.
The first project of its
kind, Caminemos con
Jesús not only utilizes
rich Cuban idioms but
also explores what style
and musical form can
teach us about praying
together across cultural
and linguistic
boundaries. The dynamic
call-and-response form
that is a hallmark of
traditional Cuban music
makes these songs
especially compelling
choices for bilingual
worship, allowing
assemblies to learn,
internalize, and pray
easily in both Spanish
and English. “Qué
Alegría Cuando Me
Dijeron / I Rejoiced When
I Heard Them Say” uses
the words of the psalm as
a rhythmic mantra,
creating a fresh and
engaging way to gather as
the Body of Christ.
“Letanía a la Madre de
las Américas / Litany of
Mary of The Americas,”
invokes the Mary of many
names and nations with a
simple yet strong
response that will
enliven Marian feasts
throughout the year. The
gentle simplicity of
“Tres Guajiros / Three
Peasants” re-imagines
the story of the Magi as
humble peasants bringing
gifts of the land to
honor the newborn Jesus.
Also, in this collection
and for the first time in
published form, is Gloria
Estefan’s
“Caridad,” a powerful
and poetic prayer to Our
Lady of Charity, the
patroness of Cuba. All of
the pieces of this
collection focus on the
importance of bringing
the voices of the
assembly to the forefront
while the arrangements
are skillfully crafted to
be accessible to
musicians of all
abilities. In addition to
the spiral-bound edition,
individual octavos, and
flute and brass parts,
Caminemos con Jesús
offers a special edition
featuring parts for
guitar, percussion and
other instruments central
to Cuban music. The
studio recording is a
stunning source of prayer
and inspiration, produced
in Miami by Grammy Award
winner Juan Delgado and
featuring some of the
finest Cuban-American
musicians today. GIA
Publications, Inc. is
committed to responding
to the rich diversity of
the contemporary Church.
With Caminemos con
Jesús, we offer you our
very best bilingual music
for the liturgical
year. “The music of
my father’s Cuban
homeland has been the
language of my heart for
as long as I can
remember. These songs
infuse that rich
tradition with the unique
sabor of my own
experience as a
Cuban-American in a
distinctly liturgical
shape that I hope will
inspire others in their
daily camino con
Jesús.” –Tony Alonso
Featuring “Live Mercy,
Be Holy / Vive la
Misericordia, Vive la
Santidad,” the 2020 Los
Angeles Religious
Education Congress theme
song! Desde la música de
Buena Vista Social Club
hasta la de Gloria
Estefan, las melodías
líricas y ritmos
contagiosos de la música
cubana son incrustados en
la cultura
estadounidense. Con
Caminemos con Jesús /
Let Us Walk with Jesus,
el compositor Tony Alonso
presenta una colección
innovadora de música
litúrgica que incorpora
su herencia musical
cubana para producir una
manera nueva de cantar la
liturgia — en español,
inglés o bilingüemente.
El primer proyecto de
este tipo, Caminemos con
Jesús no sólo utiliza
modismos ricos de Cuba
sino también explora lo
que el estilo y la forma
musical nos pueden
enseñar con respeto a
rezar juntos a través de
los límites culturales y
lingüísticos. La
forma dinámica de
llamada-y-respuesta que
es un sello distintivo de
la música cubana
tradicional crea opciones
cautivadoras para los
rituales bilingües donde
la asamblea puede
aprender, interiorizar y
rezar facilmente tanto en
español como en inglés.
“Qué Alegría Cuando
Me Dijeron” incorpora
la letra del salmo como
una mantra rítmica,
creando una manera
original para congregar
al Cuerpo de Cristo. La
“Letanía a la Madre de
las Américas,” la cual
invoca a la María de
muchos nombres y naciones
utilizando una respuesta
sencilla y fuerte,
enriquecerá a las
fiestas marianas de
muchos pueblos durante
todo el año. La
sencillez suave de
“Tres Guajiros”
reimagina la historia de
los Reyes Magos como
guajiros humildes,
trayendo regalos de la
tierra para honrar al
recién nacido Jesús.
También se encuentra en
esta colección, por la
primera vez en forma
publicada, el tema
musical “Caridad” por
Gloria Estefan, que es
una oración poderosa y
poética a Nuestra Madre
de Caridad, la patrona de
Cuba. Todas las piezas en
esta colección se
enfocan en la importancia
de las voces de la
asamblea mientras los
arreglos son accesibles
para los músicos de
todas habilidades.
Además de la edición
con espiral, las
partituras corales
individuales, y las
ediciones para flauta y
instrumentos de metal,
Caminemos con Jesús
también ofrece una
edición para guitarra
con partituras
adicionales para
percusión y otros
instrumentos centrales en
la música cubana. La
grabación del estudio es
espectacular, una fuente
de oración y
inspiración. Producido
en Miami por el ganador
de Grammy Juan Delgado,
el álbum destaca los
talentos de unos de los
mejores músicos
cubano-americanos de hoy
día. GIA Publications,
Inc. está comprometido a
responder a la diversidad
rica de la Iglesia
actual. En Caminemos con
Jesús, les ofrecemos
nuestra mejor música
bilingüe para todo el
año litúrgico. “La
música de la tierra
cubana de mi padre ha
sido el lenguaje de mi
corazón desde que yo
tengo memoria. Estas
canciones infunden esa
rica tradición del sabor
único de mi propia
experiencia como
cubanoamericano con una
forma claramente
litúrgica. Es mi deseo
que esta obra inspire a
los demás en su propio
camino diario con
Jesús”. –Tony
Alonso Incluye el canto
tema, “Vive la
Misericordia, Vive la
Santidad / Live Mercy, Be
Holy,” compuesto para
el Congreso de Educación
Religiosa de Los Angeles
del 2020. CONTENTS /
CONTENIDO: Arriba los
Corazones / We Lift Up
Our Hearts • Caminemos
con Jesús / Let Us Walk
with Jesus • Cántico
de Daniel / Canticle of
Daniel • Caridad / Our
Lady of Charity •
Letanía del Santo Nombre
de Jesús / Litany of the
Holy Name of Jesus •
Letanía a la Madre de
las Américas / Litany to
the Mother of the
Americas • Qué
Alegría Cuando Me
Dijeron / I Rejoiced When
I Heard them Say • Una
Gran Nube de Testigos / A
Wondrous Cloud of
Witnesses • Tres
Guajiros / Three Peasants
• Vayan Por el Mundo
Entero / Go Out to All
the World • Vive la
Misericordia, Vive la
Santidad / Live Mercy, Be
Holy. .