Know Before You Blow - Jazz Modes for Alto Sax with CD composed by Chris Tedesco...(+)
Know Before You Blow -
Jazz Modes for Alto Sax
with CD composed by Chris
Tedesco. For alto sax.
This edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 32
pages. Published by
Santorella Publications
Know Before You Blow - Jazz Modes for Trumpet with CD composed by Chris Tedesco....(+)
Know Before You Blow -
Jazz Modes for Trumpet
with CD composed by Chris
Tedesco. For bb trumpet.
This edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 32
pages. Published by
Santorella Publications
Guitar and voice - Difficulty: medium SKU: AP.PG9611 Authentic Guitar ...(+)
Guitar and voice -
Difficulty: medium
SKU: AP.PG9611
Authentic Guitar
TAB. By Led Zeppelin.
This edition: Authentic
Guitar TAB.
Artist/Personality;
Authentic Guitar TAB;
Guitar Personality;
Guitar TAB. Metal and
Hard Rock. Guitar
tablature songbook. With
guitar tablature,
standard notation, vocal
melody, lyrics, chord
names and guitar tab
glossary. 168 pages.
Alfred Music #00-PG9611.
Published by Alfred Music
(AP.PG9611).
ISBN
9781576233467. UPC:
029156206029. 9x12
inches. English. Led
Zeppelin.
This book
focuses on Zeppelin's
cover versions of great
blues standards as well
as their original songs
which carry traditional
blues influences. Titles
include: Bring It on Home
* Hats Off to (Roy)
Harper * Heartbreaker *
How Many More Times * I
Can't Quit You Baby * The
Lemon Song * Living
Loving Maid (She's Just a
Woman) and more.
Complete Lyrics for Over 1000 Songs from Broadway to Rock. By Various. Lyric Lib...(+)
Complete Lyrics for Over
1000 Songs from Broadway
to Rock. By Various.
Lyric Library. Softcover.
Size 8.5x11 inches. 373
pages. Published by Hal
Leonard.
SKU: GI.G-9710C A Journey from Desperation to Hope. Composed by Ro...(+)
SKU: GI.G-9710C
A Journey from
Desperation to Hope.
Composed by Rob Galea.
Sacred. 96 pages. GIA
Publications #9710C.
Published by GIA
Publications
(GI.G-9710C).
ISBN
9781594717444.
InÂ
Breakthrough: The
Companion Journal, Fr.
Rob Galea’s
reflections on faith and
the lessons he learned
and shared in the
bestselling Breakthrou
gh are highlighted and
paired with questions
such as these to assist
you in applying these
lessons to your own
faith. The journal takes
you chapter by chapter
through Breakthrough,
guiding you as you
consider your faith, your
relationship with God and
others, your past, and
your future.
Breakthrough shares
Galea’s journey
from desperation to
hope—from a lonely
and angry teenager to a
passionate
priest—while Br
eakthrough: The Companion
Journalinvites you to
consider your own life
and faith in light of the
experiences Galea shares
and the lessons he
learned from his troubled
past. This full-color,
visually appealing
journal also includes
inspirational quotes from
the book to contemplate
as you write and
full-page quotes that you
can pull out of the book
and post as a daily
reminder. Whether you are
reading Galea’s
book for the first time
or the
fifth, Breakthrough:
The Companion
Journal will help you
more deeply understand
his journey to hope and
apply its lessons to your
own life. Contemporary
culture compels
approaches to
evangelization that are
new in ardor, method, and
expression. Fr. Rob
Galea's efforts to reach
young people with the
saving power of
the Gospel exemplify
all three, and in his new
book, he reveals
precisely where his zeal
for the mission
originates—in a
personal relationship
with Jesus Christ, who is
living, present, and
accessible to all people
in his Church.
—Most Rev. Robert
Barron, Auxiliary Bishop
of Los Angeles Fr. Rob
Galea's story reveals
what happens when God is
allowed to break through
our little, personal
worlds. It is the story
of a dynamic, young,
comitted Catholic priest,
singer, and performer,
and a testimony to the
Mighty One who continues
to do great things in the
lives of young women and
men today. —Rev.
Thomas Rosica, C.S.B.,
CEO of the Salt and Ligh
Catholic Media Foundation
Fr. Rob bears his heart
and soul in Breakthrough.
His vulnerability and
authenticity are
refreshing, his story is
encouraging, and his love
for the Lord is an
inspiration to anyone who
seeks Jesus and desires
to give thier life to
him. I enjoyed this book
and highly recommend it
to anyone, especially
young people who want to
love the Lord and know
where they fit and how
God can use them.
—Katie Prejean
McGrady, author
of Follow.
Composed by Benjamin Yeo.
Folio. Cps. Set of Score
and Parts.
8+2+8+8+2+4+4+4+4+2+4+4+4
+4+6+6+4+4+8+2+2+1+4+1+2+
24 pages. Duration 2
minutes, 42 seconds. Carl
Fischer Music #CPS245.
Published by Carl Fischer
Music (CF.CPS245).
ISBN 9781491158128.
UPC: 680160916726. 9 x 12
inches.
ABOUT THE
MUSIC Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this anew ideaa needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE MUSIC
Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this 'new idea' needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE
MUSICFuture of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang.Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this
work.EDUCATIONAL
NOTESKey: Eb
MajorSECTIONBARSEVENT /
SCORING /
SUGGESTIONSIntroduction1-
4Opens in Eb major with
dotted rhythm motif.1st
Strain5-20Take note of
melodic phrasing above
the (light) oom-pah
ostinato;melody repeats
at m. 13 with the
addition of countermelody
in the inner lines;
although written at mf
dynamic, this ‘new
idea’ needs to be
heard clearly for
contrast with the
previous statement.2nd
Strain21-36C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29.Trio37-56Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.Break
Strain57-62Excerpt from
Rasa Sayang with some
play in tonality and
instrumental dialogue;
quasi grandioso-style
before the final
strain.Final
Strain63-82Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79.NOTE TO THE
CONDUCTORThis march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece.This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets.I wish you the best
in the performance of
this work.- Benjamin
Yeo.
Composed by Benjamin Yeo.
Sws. Cps. Full score. 24
pages. Carl Fischer Music
#CPS245F. Published by
Carl Fischer Music
(CF.CPS245F).
ISBN
9781491158135. UPC:
680160916733. 9 x 12
inches.
ABOUT THE
MUSIC Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this anew ideaa needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE MUSIC
Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this 'new idea' needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE
MUSICFuture of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang.Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this
work.EDUCATIONAL
NOTESKey: Eb
MajorSECTIONBARSEVENT /
SCORING /
SUGGESTIONSIntroduction1-
4Opens in Eb major with
dotted rhythm motif.1st
Strain5-20Take note of
melodic phrasing above
the (light) oom-pah
ostinato;melody repeats
at m. 13 with the
addition of countermelody
in the inner lines;
although written at mf
dynamic, this ‘new
idea’ needs to be
heard clearly for
contrast with the
previous statement.2nd
Strain21-36C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29.Trio37-56Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.Break
Strain57-62Excerpt from
Rasa Sayang with some
play in tonality and
instrumental dialogue;
quasi grandioso-style
before the final
strain.Final
Strain63-82Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79.NOTE TO THE
CONDUCTORThis march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece.This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets.I wish you the best
in the performance of
this work.- Benjamin
Yeo.
Pentatonic Plus Guitare notes et tablatures [Partition + Accès audio] Hal Leonard
Break Out of the Box: Variations on Rock's Most Essential Scale. Guitar Educa...(+)
Break Out of the Box:
Variations on Rock's Most
Essential Scale. Guitar
Educational. Scales.
Softcover Video Online.
With
guitar tablature.
Published
by Hal Leonard
Composed by
Rowan Leslie. Perfect
binding. Celtic / Irish.
Book. 156 pages. Mel Bay
Publications, Inc #30670.
Published by Mel Bay
Publications, Inc
(MB.30670).
ISBN
9781513465296. 8.75 x
11.75 inches.
This
unique collection
celebrates the
contemporary fiddle music
of northeast Ireland,
much of it for the first
time in print. Not
surprisingly, given its
location and long history
of traditional music, the
fiddle music of this
region shares some
characteristics with
Scottish music, yet it
has its own distinct
style. For those who are
not familiar with this
ruggedly attractive part
of Ireland, this book
will introduce you to
some of its music and
musicians. The tunes
presented here, collected
by County Antrim fiddler,
Rowan Leslie, have all
been written relatively
recently by local
musicians. Each tune is
offered in two
versions?one with the
barebones melody and
suggested accompaniment
chords, and a second with
ornamentation,
articulation and bowing
details. All tune types
from northeast Ireland
are represented,
including jigs and reels,
polkas and hornpipes,
marches, barn dances and
waltzes, plus set dances
and slow airs. Moreover,
the biographical sketches
and backstories provided
for each composer and
tune demonstrate how the
land itself, along with
personal experiences and
relationships, influence
the fiddle music of
northeast Ireland.
Piano/Keyboard SKU: HL.327506 By Various. Easy Piano Songbook. Pop. Softc...(+)
Piano/Keyboard
SKU:
HL.327506
By Various.
Easy Piano Songbook. Pop.
Softcover. 192 pages.
Published by Hal Leonard
(HL.327506).
ISBN
9781540081520. UPC:
888680989743.
9.0x12.0x0.416
inches.
If you're
anxious to put those
piano lessons to work,
here are 50 calming
pieces to play while you
continue your studies!
Songs are arranged for
easy piano with lyrics
and include: Bella's
Lullaby • Blowin'
in the Wind •
Brian's Song •
Chariots of Fire •
(They Long to Be) Close
to You • Dawn
• Fields of Gold
• Gabriel's Oboe
• Imagine •
Longer • Mia &
Sebastian's Theme •
New York State of Mind
• Over the Rainbow
• Tears in Heaven
• Time After Time
• The Wind Beneath
My Wings •
Yesterday • You've
Got a Friend • and
more!
About First
50
You've
been taking lessons,
you've got a few chords
under your belt, and
you're ready to buy a
songbook. Now what? Hal
Leonard has the answers
in its First 50 series.
The First 50 series
steers new players in the
right direction. These
books contain easy to
intermediate arrangements
for must-know songs. Each
arrangement is simple and
streamlined, yet still
captures the essence of
the tune.
12-String Guitar SKU: HL.287559 By Various. Guitar Collection. Pop, Stand...(+)
12-String Guitar
SKU:
HL.287559
By Various.
Guitar Collection. Pop,
Standards. Softcover.
With guitar tablature.
120 pages. Published by
Hal Leonard (HL.287559).
ISBN 9781540043313.
UPC: 888680904715.
9.0x12.0x0.299
inches.
This
one-of-a-kind collection
presents accessible,
must-know songs from the
Beatles and Bob Dylan to
Dave Matthews Band and
Tom Petty for those who
have been learning
12-string guitar and are
eager to put their new
skills to work. You'll
find a combination of
tab, chords and lyrics
for 50 great songs,
including: California
Dreamin' • Carry On
• Closer to the
Heart • Do You
Believe in Magic •
Free Fallin' • Give
a Little Bit • A
Hard Day's Night •
Hotel California •
Leaving on a Jet Plane
• Life by the Drop
• Like the Way I Do
• Melissa •
Mr. Tambourine Man
• More Than a
Feeling • The One I
Love • Over the
Hills and Far Away
• Solsbury Hill
• Space Oddity
• Still the Same
• Turn! Turn! Turn!
(To Everything There Is a
Season) • The
Waiting • Wish You
Were Here • You
Wear It Well • and
more!
About First
50
You've
been taking lessons,
you've got a few chords
under your belt, and
you're ready to buy a
songbook. Now what? Hal
Leonard has the answers
in its First 50 series.
The First 50 series
steers new players in the
right direction. These
books contain easy to
intermediate arrangements
for must-know songs. Each
arrangement is simple and
streamlined, yet still
captures the essence of
the tune.
(Activities and Ideas to Focus Your Singers). By Cristi Cary Miller and Angela K...(+)
(Activities and Ideas to
Focus Your Singers). By
Cristi Cary Miller and
Angela K. McKenna. For
Choral (RESOURCE BK).
Expressive Art (Choral).
96 pages. Published by
Hal Leonard
Composed
by Mark Lortz. Yps. Full
score. 12 pages. Duration
3 minutes, 18 seconds.
Carl Fischer Music
#YPS257F. Published by
Carl Fischer Music
(CF.YPS257F).
ISBN
9781491161968. UPC:
680160920648.
Break
Through is my musical
representation of one's
struggle to pass through
a barrier or move beyond
an obstacle. This could
be a literal breakthrough
or a metaphorical
achievement. The
composition is centered
around the key of G minor
to achieve a dark,
resonant emotion. The
percussion is the
heartbeat and pulse for
the introduction and
should follow all
dynamics to match the
winds. Soft rolling
mallets should be used
for the bass drum and
gong rolls, creating a
dark timbre without
overpowering the
ensemble. At Rehearsal
13, work to have a
balanced section where
the clarinets can be
heard on the melody and
the tenor sax and horn on
the countermelody.
Rehearsal 21 provides a
fully scored variation of
the theme and should
continue to be as dark as
possible. Rehearsal 29 is
the final musical
struggle before the
Rehearsal 38 'break
through' climax of the
composition. The
resolution of the
relative major of Bb
should be majestic and
triumphant. Finally,
rehearsal 48 transitions
to a recapitulation of
the opening theme, moving
towards a contemplative
ending back to G minor. I
hope you and your
ensemble enjoy
perforinming Break
Through. Break Through
is my musical
representation of
one’s struggle to
pass through a barrier or
move beyond an obstacle.
This could be a literal
breakthrough or a
metaphorical achievement.
The composition is
centered around the key
of G minor to achieve a
dark, resonant emotion.
The percussion is the
heartbeat and pulse for
the introduction and
should follow all
dynamics to match the
winds. Soft rolling
mallets should be used
for the bass drum and
gong rolls, creating a
dark timbre without
overpowering the
ensemble. At Rehearsal
13, work to have a
balanced section where
the clarinets can be
heard on the melody and
the tenor sax and horn on
the countermelody.
Rehearsal 21 provides a
fully scored variation of
the theme and should
continue to be as dark as
possible. Rehearsal 29 is
the final musical
struggle before the
Rehearsal 38 ‘break
through’ climax of
the composition. The
resolution of the
relative major of Bb
should be majestic and
triumphant. Finally,
rehearsal 48 transitions
to a recapitulation of
the opening theme, moving
towards a contemplative
ending back to G minor.I
hope you and your
ensemble enjoy
perforinming Break
Through.
Composed by
Mark Lortz. Yps. Set of
Score and Parts.
8+2+4+4+2+2+5+2+2+4+4+4+3
+3+3+2+3+1+1+1+4+2+12
pages. Duration 3
minutes, 18 seconds. Carl
Fischer Music #YPS257.
Published by Carl Fischer
Music (CF.YPS257).
ISBN 9781491161500.
UPC:
680160920136.
Break
Through is my musical
representation of one's
struggle to pass through
a barrier or move beyond
an obstacle. This could
be a literal breakthrough
or a metaphorical
achievement. The
composition is centered
around the key of G minor
to achieve a dark,
resonant emotion. The
percussion is the
heartbeat and pulse for
the introduction and
should follow all
dynamics to match the
winds. Soft rolling
mallets should be used
for the bass drum and
gong rolls, creating a
dark timbre without
overpowering the
ensemble. At Rehearsal
13, work to have a
balanced section where
the clarinets can be
heard on the melody and
the tenor sax and horn on
the countermelody.
Rehearsal 21 provides a
fully scored variation of
the theme and should
continue to be as dark as
possible. Rehearsal 29 is
the final musical
struggle before the
Rehearsal 38 'break
through' climax of the
composition. The
resolution of the
relative major of Bb
should be majestic and
triumphant. Finally,
rehearsal 48 transitions
to a recapitulation of
the opening theme, moving
towards a contemplative
ending back to G minor. I
hope you and your
ensemble enjoy
perforinming Break
Through. Break Through
is my musical
representation of
one’s struggle to
pass through a barrier or
move beyond an obstacle.
This could be a literal
breakthrough or a
metaphorical achievement.
The composition is
centered around the key
of G minor to achieve a
dark, resonant emotion.
The percussion is the
heartbeat and pulse for
the introduction and
should follow all
dynamics to match the
winds. Soft rolling
mallets should be used
for the bass drum and
gong rolls, creating a
dark timbre without
overpowering the
ensemble. At Rehearsal
13, work to have a
balanced section where
the clarinets can be
heard on the melody and
the tenor sax and horn on
the countermelody.
Rehearsal 21 provides a
fully scored variation of
the theme and should
continue to be as dark as
possible. Rehearsal 29 is
the final musical
struggle before the
Rehearsal 38 ‘break
through’ climax of
the composition. The
resolution of the
relative major of Bb
should be majestic and
triumphant. Finally,
rehearsal 48 transitions
to a recapitulation of
the opening theme, moving
towards a contemplative
ending back to G minor.I
hope you and your
ensemble enjoy
perforinming Break
Through.
Choral (ShowTrax CD) SKU: HL.302309 From Breakthrough. By Chrissy ...(+)
Choral (ShowTrax CD)
SKU: HL.302309
From Breakthrough.
By Chrissy Metz. By Diane
Warren. Arranged by Mac
Huff. Pop Choral Series.
Inspirational, Movies,
Pop, Show Choir. CD.
Duration 250 seconds.
Published by Hal Leonard
(HL.302309).
UPC:
888680966843.
5.0x5.0x0.152
inches.
From the
2019 film Breakthrough,
which tells the
incredible true story of
a Missouri teen whose
heart stopped beating for
45 minutes after he fell
through a layer of ice
atop a frozen lake, comes
this Dianne
Warren-penned,
gospel-themed soliloquy
of the boy's mother, who
never gave up hope. This
is a chance for your
singers to dig deep into
emotional reserves to
send a resounding
message.
Break Free Chorale 3 parties 3 parties Mixtes Hal Leonard
Choral (3-Part Mixed choir) SKU: HL.141551 By Ariana Grande. By Anton Zas...(+)
Choral (3-Part Mixed
choir)
SKU:
HL.141551
By Ariana
Grande. By Anton
Zaslavski, Max Martin,
and Savan Kotecha.
Arranged by Mark A.
Brymer. Pop Choral
Series. Dance, Pop, Show
Choir. Octavo. 12 pages.
Published by Hal Leonard
(HL.141551).
UPC:
888680045074. 6.75x10.5
inches.
Ariana
Grande's awesome
chart-topper has an
insistent beat,
electropop instrumentals
and powerful vocals that
your pop and show choir
will love to sing!
Codebreaker Orchestre d'harmonie [Conducteur] - Facile Hal Leonard
Score Only Concert Band (Score) - Level 2.5 SKU: HL.4003463 Composed by R...(+)
Score Only Concert Band
(Score) - Level 2.5
SKU: HL.4003463
Composed by Robert
Buckley. MusicWorks Grade
2. 20 pages. Duration 160
seconds. Published by Hal
Leonard (HL.4003463).
UPC: 884088908416.
9.0x12.0x0.063
inches.
The pursuit
is on! In the compelling
style of classic spy
music, Codebreaker takes
your band into the world
of intrigue and
espionage. Though written
for young band,
Codebreaker's effective
orchestration gives it
the sophisticated sound
and intensity of a much
more advanced piece. A
non-stop thrill ride full
of suspense and
adventure! (Grade 2.5)
Dur: 2:40.
Guitar Play-Along Vol. 176. By Eric Clapton, John Mayall, and Blues Breakers. Gu...(+)
Guitar Play-Along Vol.
176. By Eric Clapton,
John Mayall, and Blues
Breakers. Guitar
Play-Along. Blues,
Blues/Rock. Softcover
Audio Online. With guitar
tablature. 88 pages.
Published by Hal Leonard
Choral (ShowTrax CD) SKU: HL.275371 From Rent. Composed by Jonatha...(+)
Choral (ShowTrax CD)
SKU: HL.275371
From Rent.
Composed by Jonathan
Larson. Arranged by Mac
Huff. Broadway Choral.
Broadway, Musicals, Show
Choir. CD. Duration 180
seconds. Published by Hal
Leonard (HL.275371).
UPC: 888680743734.
5.0x5.0x0.15
inches.
The
Broadway musical Rent
changed the face of
musical theatre with its
relevant topics and
contemporary rock music.
And here we are
celebrating the 25th
anniversary of the ground
breaking show. This
powerful reprise of I'll
Cover You, in a pulsing
gospel feel, sings of
love in real and
meaningful ways that will
resonate with your
students.
Hymn Collection SKU: MN.90-70 Composed by James Biery and Marilyn Biery. ...(+)
Hymn Collection
SKU:
MN.90-70
Composed by
James Biery and Marilyn
Biery. Hymn Collections.
Hymnary. MorningStar
Music Publishers #90-70.
Published by MorningStar
Music Publishers
(MN.90-70).
Text:
Marilyn Biery.
This
collection of twenty-five
original hymn texts flows
from the writers years of
experience as a
practicing Church
musician. The texts cover
many aspects of the
church year and includes
texts for many particular
needs such as
confirmation and
stewardship. Eleven new
hymn tunes are also
included in this
collection. Complete
tune, title, topic,
meter, and scriptural
indexes are included,
making this a very useful
collection of hymns.
Hymns include: Break
Forth in Joyous Song
Christ is the Vine, We
are the Branches Come To
Us, O Holy Spirit Easter
Dawn, Streaming Bright
Embrace the Love that
Makes Us One Emmanuel
Comes! From the Word of
God, Creation Jesus
Walked Among the People
Joined Together As One
Body Lift Up Your Hearts,
You Poor in Spirit Listen
to the Voice of Gladness
Lord God, The Source of
Every Gracious Gift May
Peace from Christ Come
Dwell in You O Dearest
Jesus O God of All Life,
Now Hid from Our Sight O
God of Love, Enable Us O
God, Hear My Cry Our
Gifts, O Lord, to You We
Bring Radiant Light, Love
Divine Rejoice, Rejoice,
God's Kingdom is Coming
Seek a Place of
Breathless Beauty The
Ancient Story Thrills Our
Modern Ear The Frozen
Earth Begins to Thaw The
Spirit Makes Us One in
Christ We Sing our Love
for Jesus.