The Book of Urizen is Jacob de Haan his first Symphony for concert band, solo soprano, and a male narrator in which sound collages of expressions are used. The piece is inspired by the compelling visionary poem of the samename (which the poet illustrated himself) by the Englishman William Blake (1757-1827). The Vision, first movement and The Creation, second movement of The Book of Urizen are available by following editionnumber: DHP 1043551. The Web, the third movement of The Book of Urizen is available by the following edition number: DHP 1125252. Download the audio samples here: track 1, track 2, track 3

In The Book of Urizen - Jacob de Haan zijn eerste symfonie voor harmonieorkest, zangstem (sopraan) en een mannelijke spreekstem - wordt gebruik gemaakt van geluidscollages. De compositie is ge nspireerd op het gelijknamigegedicht van William Blake (1757-1827). The Vision, het eerste deel en The Creation, het tweede deel van The Book of Urizen zijn beschikbaar via volgend editienummer: DHP 1043551. The Web, het derdedeel van The Book of Urizen is verkrijgbaar via editienummer: DHP 1125252. Download audiofragmenten hier: track 1, track 2, track 3

The Book of Urizen ist Jacob de Haan seine erste Symphonie für Blasorchester, Gesang (Sopran) und (männliche) Sprechstimme, in welcher Botschaften durch Geräuschcollagen wiedergegeben werden. Als Inspirationsquelle dienteder gleichnamige Gedichtzyklus des großen englischen Dichters und Malers William Blake (1757-1827). The Vision, erster Satz und The Creation, zweiter Satz von The Book of Urizen sind unter der folgendenEditionsnummer erhältlich: DHP 1043551. The Web, der dritte Satz von The Book of Urizen , ist unter der folgenden Editionsnummer erhältlich: DHP 1125252. Laden Sie hier die Audiosamples herunter: track 1, track 2,track 3

En 1794, l’écrivain, peintre, graveur, enlumineur, visionnaire et philosophe mystique anglais William Blake (1757-1827) dénonce dans The Book of Urizen (Le Livre d’Urizen), la loi de fer du monde moderne. Dans The Book ofUrizen - la première symphonie de Jacob de Haan pour Orchestre d’Harmonie, Soprano et un récitant - des collages sonores sont utilisés. The Vision, la première partie et The Creation, la deuxième partie de TheBook of Urizen sont disponibles sous le numéro d'éditionsuivant: DHP 1043551. The Web, la troisième partie de The Book of Urizen est disponible sous le numéro d'édition suivant: DHP 1125252. Télécharger lesextraits audio ici: track 1, track 2, track 3

The Book of Urizen is a work for concert band, solo soprano, and a male narrator in which sound collages of religious expressions are used. The piece is inspired by the compelling visionary poem of the same name (which the poet illustratedhimself) by the Englishman William Blake (1757-1827), who occupies a unique position in western literature and the visual arts. He was not just a poet and a writer, but he was also a graphic artist, a painter, an illustrator, a spiritualist, areligious visionary, and a mystic philosopher. For the performance of this work, a professional sound system, including two microphones and a CD player, is needed. The three sound collages are three separate tracks on the enclosed CD and can beplayed easily at the right moment. The Book of Urizen bears resemblance to Genesis and Exodus, of which the contents form the basis of the Christian, Jewish, and Islamic faith. Blake adhered to the principle that all religions are in fact one,and that deities reside in human beings. In The Book of Urizen this is represented in “The Net of Religion,” which is spanned over the earth by Urizen. The sound collages, compiled by Jacob de Haan in the studio, find their origin inJerusalem, the Holy City, where the afore-mentioned faiths “come together.” In the first movement of this composition, The Vision, Urizen prepares his vision of the world, and he presents this to the “Eternals.” His vision is rejected,and Urizen locks himself up in his own abstract world. When he does emerge again, he is confronted with rage by the gathered Eternals. Urizen flees the wrath of the Eternals, “the flames of eternal fury,” and enwombs himself in his own world. Whenthe Eternals see Urizen in his “stony sleep,” they wonder if this is death. The blacksmith Los is torn by grief because of the isolation of Urizen. It brings him to rouse his fires, prepare his forge, and to give Urizen’s world concrete form. In thesecond movement, The Creation, Urizen’s world, but also man, woman, and child are created. Los is horrified with the appearance of Urizen’s body. He mourns and pities Urizen, and from his blood a female form comes into being, with thename Enitharmon. The Eternals, fearful of the female form, decide to erect a tent to obstruct their view to eternity. Enitharmon and Los beget a son, called Orc. Los baptizes him as a child of the “fallen world.” Orc is fed at Enitharmon’s breast,which makes a girdle of jealousy restrict Los’ chest. He takes the child to the top of the mountain and chains him down. The cries of Orc awaken Urizen, who explores his world creating instruments of scientific measurement to do so. Los encircles theface of Enitharmon from the sight of Urizen and Orc. She then populates the earth by giving birth to an enormous race.The Web, third movement of The Book of Urizen is now available: DHP 1125252

Keyboard (Theory Book). Published by Alfred Publishing. Correlated page-for-page with the Lesson Book, each new musical concept is reinforced through fun-filled writing, listening and playing exercises. With games and puzzles added to compositional and creative activities, students retain concepts more easily and learn more thoroughly.

Choral (Children's Voices, SATB choir, SATB and Unison w/opt. 4 Handbells) SKU: HP.C5745 Composed by Joseph M. Martin. Piano with Optional Unison Choir and 4 Handbells. Palm Sunday, Adults and Children, Sacred. Octavo. 12 pages. Hope Publishing Company #C5745. Published by Hope Publishing Company (HP.C5745). UPC: 763628157456. Joseph M. Martin. Matthew 21:1-11, Mark 11:1-11, Luke 19:29-44, John 12:12-19. Original anthem This charming Palm Sunday anthem from Joe Martin builds from the children's opening statement, then gradually adds adult voices and even includes a few antiphonal moments. It's easily learned and a great way to begin your Holy Week services. The handbell part for 4 bells (D5, G5, A5, D6) is included and reproducible.

For Guitar. Classical (chamber). Includes a high-quality printed music score with both primo and secondo guitar parts; and a compact disc containing a complete performance with secondo guitar on the left channel, and primo guitar on the right channel. Either can be easily removed for your performance pleasure. Published by Music Minus One.

Solo organ - Difficulty: medium

SKU: JU.00-GSOC00076

Composed by Johann Pachelbel. Masterworks; Organ Solo. H. W. Gray Publications. Baroque. Organ solo single. With organ notation. 4 pages. H. W. Gray #00-GSOC00076. Published by H. W. Gray (JU.00-GSOC00076).

UPC: 029156066869. 9x12 inches. Key: D major. English. Arranged.

Looking for an intermediate-level, tasteful arrangement of the popular Pachabel Canon in D? Here's your answer. Tucker has arranged this famous melody with weddings in mind. It works well for both a processional or pre-service selection. Easily learned, this arrangement sounds more difficult to play than it actually is. A top seller!

(60 Easily Prepared Piano Arrangements for Services Throughout the Year). Arranged by Cindy Berry. For Piano. Book; Piano Collection; Piano Supplemental. Sacred Performer Collections. Sacred. Late Intermediate. 232 pages. Published by Alfred Music

Sunday Savers for SAB Choirs. (Five Anthems for the Church Year Easily Prepared in One Rehearsal (SAB)). By Jay Althouse. Choir Sacred. 3-Part Mixed Choir (SAB). Choral (Sacred); Choral Worship Collection; Worship Resources. Choral, Sacred. Book. 32 pages. Published by Alfred Music Publishing

Orchestra String Orchestra - Grade 2-2.5

SKU: CF.YAS10

Composed by Doris Gazda. Edited by Amy Rosen. Carl Fischer Young String Orchestra Series. Classical. Score and Parts. With Standard notation. 16+4+16+10+10+4+10+12 pages. Carl Fischer Music #YAS10. Published by Carl Fischer Music (CF.YAS10).

ISBN 9780825848261. UPC: 798408048266. 8.5 X 11 inches. Key: D major.

When traveling through the desert southwest of the United States, you may be fortunate enough to come across a strange looking brown and white streaked bird called the Roadrunner. It has a blue patch of skin circling the eyes, a tiny dot of bright red behind the eyes, a bushy crest on the top of its head and a long tail that bobs up and down. A member of the cuckoo family, it is New Mexico's state bird, and can run in bursts of speed from between ten to twenty miles per hour. Because it is equipped to run rather than fly, its feet are different from other bird species, having two toes in front and two toes in the back. Its tracks looks like the letter X. Although roadrunners can become airborne, they are basically ground birds and do not fly. They eat insects, scorpions, small rodents, birds, lizards and snakes. They do make noise when in danger; however, the clicks and clatters do not resemble the sound of a honking horn that we think of from the Hollywood cartoon version of roadrunners. The repeated notes in the opening melody of Roadrunner Rally will remind you of the sight of a roadrunner traveling along at breakneck speed. A crisp spiccato accompanied by pizzicato in the cello and bass paints the picture of the bird running through the desert. At m. 17 you will hear that raucous honk, honk that is associated with the roadrunner saying Out of my way! The syncopation can easily be learned by feel as well as by counting carefully. At m. 25 and similar passages, the first violins will have fun learning the jazz licks. The walking bass like at m.69 with the jerky sound of the octaves in the upper strings will remind you of the awkward appearance of this ungainly bird. And of course, Roadrunner Rally ends with a loudly emphasized honking noise, the beep that we associate with the humorous picture of the roadrunner.
When traveling through the desert southwest of the United States, you may be fortunate enough to come across a strange looking brown and white streaked bird called the Roadrunner. It has a blue patch of skin circling the eyes, a tiny dot of bright red behind the eyes, a bushy crest on the top of its head and a long tail that bobs up and down. A member of the cuckoo family, it is New Mexico's state bird, and can run in bursts of speed from between ten to twenty miles per hour. Because it is equipped to run rather than fly, its feet are different from other bird species, having two toes in front and two toes in the back. Its tracks looks like the letter X. Although roadrunners can become airborne, they are basically ground birds and do not fly. They eat insects, scorpions, small rodents, birds, lizards and snakes. They do make noise when in danger; however, the clicks and clatters do not resemble the sound of a honking horn that we think of from the Hollywood cartoon version of roadrunners. The repeated notes in the opening melody ofA Roadrunner Rally will remind you of the sight of a roadrunner traveling along at breakneck speed. A crisp spiccato accompanied by pizzicato in the cello and bass paints the picture of the bird running through the desert. At m. 17 you will hear that raucous honk, honk that is associated with the roadrunner saying Out of my way! The syncopation can easily be learned by feel as well as by counting carefully. At m. 25 and similar passages, the first violins will have fun learning the jazz licks. The walking bass like at m.69 with the jerky sound of the octaves in the upper strings will remind you of the awkward appearance of this ungainly bird. And of course,A Roadrunner Rally ends with a loudly emphasized honking noise, theA beep that we associate with the humorous picture of the roadrunner.
When traveling through the desert southwest of the United States, you may be fortunate enough to come across a strange looking brown and white streaked bird called the Roadrunner. It has a blue patch of skin circling the eyes, a tiny dot of bright red behind the eyes, a bushy crest on the top of its head and a long tail that bobs up and down. A member of the cuckoo family, it is New Mexico's state bird, and can run in bursts of speed from between ten to twenty miles per hour. Because it is equipped to run rather than fly, its feet are different from other bird species, having two toes in front and two toes in the back. Its tracks looks like the letter X. Although roadrunners can become airborne, they are basically ground birds and do not fly. They eat insects, scorpions, small rodents, birds, lizards and snakes. They do make noise when in danger; however, the clicks and clatters do not resemble the sound of a honking horn that we think of from the Hollywood cartoon version of roadrunners. The repeated notes in the opening melody ofA Roadrunner Rally will remind you of the sight of a roadrunner traveling along at breakneck speed. A crisp spiccato accompanied by pizzicato in the cello and bass paints the picture of the bird running through the desert. At m. 17 you will hear that raucous honk, honk that is associated with the roadrunner saying Out of my way! The syncopation can easily be learned by feel as well as by counting carefully. At m. 25 and similar passages, the first violins will have fun learning the jazz licks. The walking bass like at m.69 with the jerky sound of the octaves in the upper strings will remind you of the awkward appearance of this ungainly bird. And of course,A Roadrunner Rally ends with a loudly emphasized honking noise, theA beep that we associate with the humorous picture of the roadrunner.
When traveling through the desert southwest of the United States, you may be fortunate enough to come across a strange looking brown and white streaked bird called the Roadrunner. It has a blue patch of skin circling the eyes, a tiny dot of bright red behind the eyes, a bushy crest on the top of its head and a long tail that bobs up and down. A member of the cuckoo family, it is New Mexico's state bird, and can run in bursts of speed from between ten to twenty miles per hour. Because it is equipped to run rather than fly, its feet are different from other bird species, having two toes in front and two toes in the back. Its tracks looks like the letter X. Although roadrunners can become airborne, they are basically ground birds and do not fly. They eat insects, scorpions, small rodents, birds, lizards and snakes. They do make noise when in danger; however, the clicks and clatters do not resemble the sound of a honking horn that we think of from the Hollywood cartoon version of roadrunners. The repeated notes in the opening melody of Roadrunner Rally will remind you of the sight of a roadrunner traveling along at breakneck speed. A crisp spiccato accompanied by pizzicato in the cello and bass paints the picture of the bird running through the desert. At m. 17 you will hear that raucous honk, honk that is associated with the roadrunner saying Out of my way! The syncopation can easily be learned by feel as well as by counting carefully. At m. 25 and similar passages, the first violins will have fun learning the jazz licks. The walking bass like at m.69 with the jerky sound of the octaves in the upper strings will remind you of the awkward appearance of this ungainly bird. And of course, Roadrunner Rally ends with a loudly emphasized honking noise, the beep that we associate with the humorous picture of the roadrunner.
When traveling through the desert southwest of the United States, you may be fortunate enough to come across a strange looking brown and white streaked bird called the Roadrunner. It has a blue patch of skin circling the eyes, a tiny dot of bright red behind the eyes, a bushy crest on the top of its head and a long tail that bobs up and down. A member of the cuckoo family, it is New Mexico's state bird, and can run in bursts of speed from between ten to twenty miles per hour. Because it is equipped to run rather than fly, its feet are different from other bird species, having two toes in front and two toes in the back. Its tracks looks like the letter X. Although roadrunners can become airborne, they are basically ground birds and do not fly. They eat insects, scorpions, small rodents, birds, lizards and snakes. They do make noise when in danger; however, the clicks and clatters do not resemble the sound of a honking horn that we think of from the Hollywood cartoon version of roadrunners. The repeated notes in the opening melody of Roadrunner Rally will remind you of the sight of a roadrunner traveling along at breakneck speed. A crisp spiccato accompanied by pizzicato in the cello and bass paints the picture of the bird running through the desert. At m. 17 you will hear that raucous honk, honk that is associated with the roadrunner saying Out of my way! The syncopation can easily be learned by feel as well as by counting carefully. At m. 25 and similar passages, the first violins will have fun learning the jazz licks. The walking bass like at m.69 with the jerky sound of the octaves in the upper strings will remind you of the awkward appearance of this ungainly bird. And of course, Roadrunner Rally ends with a loudly emphasized honking noise, the beep that we associate with the humorous picture of the roadrunner.
When traveling through the desert southwest of the United States, you may be fortunate enough to come across a strange looking brown and white streaked bird called the Roadrunner. It has a blue patch of skin circling the eyes, a tiny dot of bright red behind the eyes, a bushy crest on the top of its head and a long tail that bobs up and down. A member of the cuckoo family, it is New Mexico's state bird, and can run in bursts of speed from between ten to twenty miles per hour. Because it is equipped to run rather than fly, its feet are different from other bird species, having two toes in front and two toes in the back. Its tracks looks like the letter X. Although roadrunners can become airborne, they are basically ground birds and do not fly. They eat insects, scorpions, small rodents, birds, lizards and snakes. They do make noise when in danger; however, the clicks and clatters do not resemble the sound of a honking horn that we think of from the Hollywood cartoon version of roadrunners.The repeated notes in the opening melody of Roadrunner Rally will remind you of the sight of a roadrunner traveling along at breakneck speed. A crisp spiccato accompanied by pizzicato in the cello and bass paints the picture of the bird running through the desert. At m. 17 you will hear that raucous honk, honk that is associated with the roadrunner saying Out of my way! The syncopation can easily be learned by feel as well as by counting carefully. At m. 25 and similar passages, the first violins will have fun learning the jazz licks. The walking bass like at m.69 with the jerky sound of the octaves in the upper strings will remind you of the awkward appearance of this ungainly bird. And of course, Roadrunner Rally ends with a loudly emphasized honking noise, the  beep that we associate with the humorous picture of the roadrunner.

Choral TBB choir, piano accompaniment

SKU: CF.CM9590

Composed by Philip E. Silvey. Sws. OCTAVO. 16 pages. Duration 3 minutes, 38 seconds. Carl Fischer Music #CM9590. Published by Carl Fischer Music (CF.CM9590).

ISBN 9781491154120. UPC: 680160912629. 6.875 x 10.5 inches. Key: F major. English. Philip E. Silvey. Original.

Early one spring a robin nested in the bend of the downspout under my neighbors roof. Through an upstairs window, I could easily observe her feeding the newly hatched birds. A couple weeks passed before I spotted one of the babies perched on the edge of the nest. To my surprise, I witnessed it suddenly take flight for the first time, with a rustle of wings and a rocky descent to the ground. Feeling worried, I hurried outside to see what would happen. Part of me wanted its mother to come to the rescue, but deep down I knew this tiny creature would have to fend for itself. I wrote this composition for those who face such seminal moments as they muster the courage to leap from one stage of life into the next.
Early one spring a robin nested in the bend of the downspout under my neighboras roof. Through an upstairs window, I could easily observe her feeding the newly hatched birds. A couple weeks passed before I spotted one of the babies perched on the edge of the nest. To my surprise, I witnessed it suddenly take flight for the first time, with a rustle of wings and a rocky descent to the ground. Feeling worried, I hurried outside to see what would happen. Part of me wanted its mother to come to the rescue, but deep down I knew this tiny creature would have to fend for itself. I wrote this composition for those who face such seminal moments as they muster the courage to leap from one stage of life into the next.
Early one spring a robin nested in the bend of the downspout under my neighbor's roof. Through an upstairs window, I could easily observe her feeding the newly hatched birds. A couple weeks passed before I spotted one of the babies perched on the edge of the nest. To my surprise, I witnessed it suddenly take flight for the first time, with a rustle of wings and a rocky descent to the ground. Feeling worried, I hurried outside to see what would happen. Part of me wanted its mother to come to the rescue, but deep down I knew this tiny creature would have to fend for itself. I wrote this composition for those who face such seminal moments as they muster the courage to leap from one stage of life into the next.
Early one spring a robin nested in the bend of the downspout under my neighbor’s roof. Through an upstairs window, I could easily observe her feeding the newly hatched birds. A couple weeks passed before I spotted one of the babies perched on the edge of the nest. To my surprise, I witnessed it suddenly take flight for the first time, with a rustle of wings and a rocky descent to the ground. Feeling worried, I hurried outside to see what would happen. Part of me wanted its mother to come to the rescue, but deep down I knew this tiny creature would have to fend for itself. I wrote this composition for those who face such seminal moments as they muster the courage to leap from one stage of life into the next.

(The New York Woodwind Quintet Library Series). Composed by Antonin Dvorak (1841-1904). Edited by Charles Neidich. Arranged by George Barrere and Samuel Baron. For Woodwind Quintet (Score and Parts). Southern Music. Southern Music Company #SU781. Published by Southern Music Company

SKU: HL.1215599

Pioneer DJ. DJ Gear. Duration 153 seconds. Hal Leonard #DDJ-FLX10. Published by Hal Leonard (HL.1215599).

UPC: 841300102304. 6.75x31.0x18.75 inches.

The 4-channel DDJ-FLX10 for rekordbox and Serato DJ Pro includes a host of brand-new features that enables new creative possibilities, including functions DJs can use to easily perform mashups on the fly with no need to prepare tracks in advance. Thanks to the controller's new Track Separation technology, DJs can easily load tracks from their music library to the DDJ-FLX10 and manipulate different musical parts to create infinitely unique performances including live mashups. The controller focuses on 3 track elements that are crucial to DJing – vocals, drums, and inst (other instruments)Ÿ– so DJs can easily play around each one. DJs can reference important information and customize the loof of the controller, thanks to the expanded On Jog Display. Improving on the jogs from popular DDJ-1000, there are 4 On Jog Display modes to choose from, giving DJs the option to display different types of waveform information. The DDJ-FLX10 introduces Mix Point Link, a new rekordbox-compatible feature that enables the user to neatly and seamlessly link the playback of tracks in their set while freeing up their hands to help foster creativity.

This edition: Win/Mac. CD-ROM. With Scoring And Notation. Published by eMedia Music (EI.SS00130).

Keyboard Kids Flashcards * Deck 3 composed by Tony Santorella. This edition: Paperback. Teaching Aid. Keyboard Kids series. Educational. Flashcards. Text Language: English. 80 pages. Published by Santorella Publications

Choral Bass 1, Bass 2, baritone voice tenor 1, tenor 2

SKU: CF.CM9634

Composed by Traditional Christmas Spiritual. Arranged by Ken Berg. Sws. Performance Score. 16 pages. Duration 3 minutes, 40 seconds. Carl Fischer Music #CM9634. Published by Carl Fischer Music (CF.CM9634).

ISBN 9781491157060. UPC: 680160915620. 6.875 x 10.5 inches. Key: G major. English, English. Traditional Christmas Spiritual.

Berg's fantastic setting of this beloved American Christmas spiritual for advanced tenor-bass choirs tells a story of hope and meaning. The various textures throughout the a cappella arrangement with solos add much variety and musical interest. A holiday programming must!.
This beloved American Christmas Spiritual, like all spirituals and/or folk songs, tells a story. This is a story of hope and meaning. The introductory solo call and response (mm. 1-7) is hymnic in nature, just to get us started. (Think of it as an effective head fake!) The entrance at m. 8 from the upper three voices (we'll call them the trio part henceforth) is pivotal. They set the stage for the conversation between the singers and the soloist for the rest of the song. From this point, the song is basically a Jazz Trio in vocal form. The bass singers take on the role of the cool dude in the back wearing dark glasses and a beret playing the string bass. They provide the driving force for the forward movement of the entire song. The trio part, basically tenors 1 & 2 and baritones, take on the role of the keyboard providing chordal structure and syncopation. Their job is to fill the listener's ear with sound and rhythm. The soloist tells the story using the known melody and text with appropriate improv opportunities to keep the listeners focused on the message of the song. There is enough repetition to make for easy learning, but this also means that the chords need to snap into position cleanly every time. The Verses are easily identified (there are three) and presented with some small variations in Verse 3 (see mm. 56-58...this only happens once). The Refrain (mm. 30-37) is the part of the song where the singers switch from the Jazz Trio role and actually become a Men's Choral Ensemble. This Refrain is repeated after Verse 3 at mm. 66-71. Between verses 2 & 3, there is not a refrain. Instead, there is a bridge repeated from the introductory material, but used this time to move us into a new key signature. This can be a very exciting moment for the singers as well as the listeners! Measures 72-75 is known in the business as a vamp. It can be repeated once and then move on, OR it can be repeated multiple times, depending on the comfort level of the soloist and the response of the audience. It is important that there be a clear signal from the conductor as to how to end the vamp and move effectively to the actual coda of the song. The ending should be sung with tight control that only looks like reckless abandon! Faces bright; words clean; melody clear; rhythms precise! Enjoy.
This beloved American Christmas Spiritual, like all spirituals and/or folk songs, tells a story. This is a story of hope and meaning. The introductory solo call and response (mm. 1-7) is hymnic in nature, just to get us started. (Think of it as an effective head fake!)The entrance at m. 8 from the upper three voices (we’ll call them the “trio part” henceforth) is pivotal. They set the stage for the conversation between the singers and the soloist for the rest of the song. From this point, the song is basically a Jazz Trio in vocal form. The bass singers take on the role of the cool dude in the back wearing dark glasses and a beret playing the string bass. They provide the driving force for the forward movement of the entire song.The “trio part”, basically tenors 1 & 2 and baritones, take on the role of the keyboard providing chordal structure and syncopation. Their job is to fill the listener’s ear with sound and rhythm.The soloist tells the story using the known melody and text with appropriate improv opportunities to keep the listeners focused on the message of the song.There is enough repetition to make for easy learning, but this also means that the chords need to “snap into position” cleanly every time. The Verses are easily identified (there are three) and presented with some small variations in Verse 3 (see mm. 56-58…this only happens once).The Refrain (mm. 30-37) is the part of the song where the singers switch from the “Jazz Trio” role and actually become a “Men’s Choral Ensemble”. This Refrain is repeated after Verse 3 at mm. 66-71. Between verses 2 & 3, there is not a refrain. Instead, there is a bridge repeated from the introductory material, but used this time to move us into a new key signature. This can be a very exciting moment for the singers as well as the listeners!Measures 72-75 is known in the business as a “vamp”. It can be repeated once and then move on, OR it can be repeated multiple times, depending on the comfort level of the soloist and the response of the audience.It is important that there be a clear signal from the conductor as to how to end the “vamp” and move effectively to the actual coda of the song. The ending should be sung with tight control that only looks like reckless abandon!Faces bright; words clean; melody clear; rhythms precise! Enjoy.

Ukelele

SKU: M7.VOGG-926

Composed by Gernot Roedder. Sheet music with CD. 64 pages. Voggenreiter #VOGG 926. Published by Voggenreiter (M7.VOGG-926).

ISBN 9783802409264. English.

The little hawaian ukulele has long since grown up to become a 'real' musical instrument. It's fun to play, easily transportable and the player soon becomes the center of attraction anywhere he plays his instrument. This beginner's course is your fast road to easy success. All examples, exercises and songs notated in standard notation as well as tablature. Easily understandable, hands-on explanations of music theory make learning with this book a breeze. The accompanying Audio-CD lets you control your improvements.

Keyboard Kids Flashcards * Deck 1 composed by Tony Santorella. This edition: Paperback. Teaching Aid. Keyboard Kids series. Educational. Flashcards. Text Language: English. 80 pages. Published by Santorella Publications

SATB choir, organ accompaniment, flute, oboe, clarinet in B-flat, horn in f, bassoon - Early intermediate

SKU: GI.G-7261

Composed by Ronald Krisman. Pentecost, Pentecost A, Pentecost B, Pentecost C. Oramos cantando series. Sacred. Octavo. GIA Publications #7261. Published by GIA Publications (GI.G-7261).

UPC: 785147726104. English, Spanish. Translation: Mary Louise Bringle. Text by Francisco Luis Bernárdez.

This easily sung piece is perfect for celebrations of the Spirit. The simple congregational melody, intertwined with the Latin chant “Veni Creator Spritus” sung by the choir, makes this an effective processional piece. Multiple reprint boxes are included for use with English, Spanish, or bilingual assemblies. Wind quintet part is optional

Easily sung, perfect for celebrations of the Spirit.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Floor Tom, Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tambourine and more. - Grade 1.5

SKU: CF.FPS156

Composed by Joseph Compello. Folio. Fps. Set of Score and Parts. 8+2+4+4+2+5+2+2+4+4+4+6+2 +3+2+1+2+3+16 pages. Duration 2 minutes, 50 seconds. Carl Fischer Music #FPS156. Published by Carl Fischer Music (CF.FPS156).

ISBN 9781491156360. UPC: 680160914906. 9 x 12 inches.

Personal Note My high school band director, Clarence F. Wroblewski, died on November 24, 2018. In the 1950s, he was a pioneer in the field of public school instrumental music in Baltimore City. He was my mentor and my dear friend. It was his guidance and encouragement that set my young life's course on the path of music. Performance Notes The idea for Ghost Chasers is to have a spooky tune (m. 9, Trumpets) chasing around in simple counterpoint between two sections. (See m. 19). Students will find the independent part playing both challenging and fun. In the contrasting section at m. 30, young students will gain experience in changing their articulation from marcato to legato. Obeying the cues for low brass in this section is recommended, but depending on the instrumentation of the band, directors may disregard the cues if necessary. Directors may also wish to take the opportunity to teach a lesson about major and minor keys and discuss why the tune at m. 9 sounds spooky and the theme at m. 30 sound lighthearted. Overall, the main challenge for this piece is balance. For the chaser idea to be effective the half-measure lag between the two sections playing the same tune must be easily heard. Even more attention to balance must be paid at m. 45, where the spooky theme is added to the chasing theme. If Clarinets can play third-line written D, use it instead of the alternate cued note. If three Timpani are not available, omit the note D.
Personal NoteMy high school band director, Clarence F. Wroblewski, died on November 24, 2018. In the 1950s, he was a pioneer in the field of public school instrumental music in Baltimore City. He was my mentor and my dear friend. It was his guidance and encouragement that set my young life’s course on the path of music.Performance NotesThe idea for Ghost Chasers is to have a spooky tune (m. 9, Trumpets) chasing around in simple counterpoint between two sections. (See m. 19). Students will find the independent part playing both challenging and fun.In the contrasting section at m. 30, young students will gain experience in changing their articulation from marcato to legato. Obeying the cues for low brass in this section is recommended, but depending on the instrumentation of the band, directors may disregard the cues if necessary. Directors may also wish to take the opportunity to teach a lesson about major and minor keys and discuss why the tune at m. 9 sounds spooky and the theme at m. 30 sound lighthearted.Overall, the main challenge for this piece is balance. For the “chaser” idea to be effective the half-measure lag between the two sections playing the same tune must be easily heard. Even more attention to balance must be paid at m. 45, where the “spooky” theme is added to the “chasing” theme.If Clarinets can play third-line written D, use it instead of the alternate cued note. If three Timpani are not available, omit the note D.

Band concert band - Grade 3

SKU: CF.CPS250

Composed by Peter Sciaino. Set of Score and Parts. 27+12+12+6+12+12+12+6+6+6 +6+4+4+8+8+8+4+4+6+6+6+4+ 12+4+2+6+10 pages. Duration 4 minutes, 40 seconds. Carl Fischer Music #CPS250. Published by Carl Fischer Music (CF.CPS250).

ISBN 9781491159576. UPC: 680160918164.

Kalei doscope Sky is inspired by the breathtaking pastime of hot-air ballooning and the glorious festivals around the world that honor the practice. A sky full of colorful spheres elegantly floating at the Albuquerque International Balloon Fiesta, International Balloon Festival of Saint-Jean-sur-Richelieu, Bristol International Balloon Fiesta, Mondial Air Ballons and more draw thousands of people to witness awe-inspiring scenes full of passionate balloonists. Traditional hot-air balloons mix with creatively designed balloons to thrill the tens of thousands of spectators below. While I personally am not a person who dreams of taking my own flight--heights are not my thing--I have to marvel at how gently and easily these vessels float among the clouds. It truly is an image of exquisite freedom. This piece reflects the view and experience of the onlooker taking in an elegantly shifting scene reminiscent of kaleidoscope patterns. Spectators like me can appreciate the beauty and vibrancy associated with a horizon full of adventurous balloonists and their wondrous aircrafts. Kaleidoscope Sky starts in a triumphant and celebratory fashion and continues to conjure images reminiscent of the wide variety of soaring colors on display at a hot-air balloon event. Ultimately, the piece appropriately concludes with a suspenseful, yet graceful, run to the finish line. Melodic lines should soar with attention being paid to phrase markings and assigned articulations. Encourage musicians to allow room for the melodic material to be heard in thicker textures where supporting harmonies are often rhythmic in nature. These harmonies should support, and not cloud the melodies. The meter changes should sound effortless, and the continuous figures in the percussion will help to achieve this effect. The snare drum, in particular, should bring accented notes to the foreground while maintaining a steady textural effect with non-accented notes as a rhythmic background. This will go a long way in finding a cohesive subdivision and ensemble pulse.
Kaleidoscope Sky is inspired by the breathtaking pastime of hot-air ballooning and the glorious festivals around the world that honor the practice. A sky full of colorful spheres elegantly floating at the Albuquerque International Balloon Fiesta, International Balloon Festival of Saint-Jean-sur-Richelieu, Bristol International Balloon Fiesta, Mondial Air Ballons and more draw thousands of people to witness awe-inspiring scenes full of passionate balloonists. Traditional hot-air balloons mix with creatively designed balloons to thrill the tens of thousands of spectators below. While I personally am not a person who dreams of taking my own flight—heights are not my thing—I have to marvel at how gently and easily these vessels float among the clouds. It truly is an image of exquisite freedom. This piece reflects the view and experience of the onlooker taking in an elegantly shifting scene reminiscent of kaleidoscope patterns. Spectators like me can appreciate the beauty and vibrancy associated with a horizon full of adventurous balloonists and their wondrous aircrafts. Kaleidoscope Sky starts in a triumphant and celebratory fashion and continues to conjure images reminiscent of the wide variety of soaring colors on display at a hot-air balloon event. Ultimately, the piece appropriately concludes with a suspenseful, yet graceful, run to the finish line.Melodic lines should “soar” with attention being paid to phrase markings and assigned articulations. Encourage musicians to allow room for the melodic material to be heard in thicker textures where supporting harmonies are often rhythmic in nature. These harmonies should support, and not “cloud” the melodies. The meter changes should sound effortless, and the continuous figures in the percussion will help to achieve this effect. The snare drum, in particular, should bring accented notes to the foreground while maintaining a steady textural effect with non-accented notes as a rhythmic background. This will go a long way in finding a cohesive subdivision and ensemble pulse.

Exceptional Classics for Flute and Guitar composed by Various. Arranged by Robert Tarchara and Steve Tapper. For flute, guitar. This edition: Paperback. Collection. Classical. Book. Text Language: English. 128 pages. Published by Santorella Publications

(Sg-S-solo,2Sg-Mez-solo,S g-A-solo,4Sg-T-solo,Sg-Ba r-solo,Sg-BBar-solo,Sg-B- solo,Orch,Hinter der Buhne: 2Hn,2Trp,Timp.,MCh)

SKU: BA.BA09579-01

Opera in three Acts. Composed by Leos Janacek. Edited by Annette Thein, Jonáš Hájek, and Tomáš Hanus. This edition: complete edition, urtext edition. Linen. Kritische Gesamtausgabe der Werke von Leos Janacek A/9. Brno Version. Complete edition, Score. Baerenreiter Verlag #BA09579_01. Published by Baerenreiter Verlag (BA.BA09579-01).

ISBN 9790260108622. 34.2 x 28 cm inches. Text Language: Czech, English, German. Preface: Štedron, Miloš. Text: Leos (nach Karel Capek) Janacek.

The new edition of Janacek's penultimate operaThe Makropulos Affairis a reconstruction of the work's original version, which shows only a few deviations from the final version. The opera was premiered on 18 December 1926 at the National Theatre Brno with the composer in attendance. The second authorized copy of the score, prepared by Jaroslav Kulhanek, was used for the performance material. This copy also served as the primary source for the new critical edition of the full score.

This edition features clearly marked performance instructions by one of the editors, the experienced Janacek conductor Tomas Hanus. As they have been graphically offset, they can easily be distinguished from the original version.These practical suggestions facilitate the production of the opera and allow the conductor to study the work more easily. In this way, the performance material offers a welcome alternative to previous editions of the opera.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

SKU: HL.197531

With Handle. IQ Plus. General Merchandise. Hal Leonard #IQ-W026-05. Published by Hal Leonard (HL.197531).

UPC: 888680645984. 9.0x10.0x2.5 inches.

The IQ Plus Frame Drum is crafted from environmentally-friendly Siam Oak Wood with a genuine goat-skin head. This model is the smallest of our Frame Drums, featuring a 6″ wide diameter head, while we also offer larger models with 8″, 10″ and 18″ diameter heads. This Frame Drum is extremely durable and easily portable. It has a simple structure but provides very strong educational and entertaining qualities. Features: •6″ Diameter head made from genuine goat skin •Shell crafted from sustainably-harvested Siam Oak Wood •Extremely durable and easily portable •Provides many educational benefits •Fun to play •Available in three sizes (6″ 8″, 10″).

Flute Duet 2 Flutes - Grade 2

SKU: FL.FX071142

Composed by Cecilia Royer-Cardona. Classical, Educational. Score and Set of Parts. FLEX Editions #FX071142. Published by FLEX Editions (FL.FX071142).

This mini duet, easily usable at the end of a class or during auditions, can be played from the very beginning of the second year of flute practice. It allows to start working on musical phrasing while proposing horizontal-writing such as in B where the 2 flute interleave, and vertical-writing to play in tune more easily.

Trumpet. Essential Musicianship Band. Softcover. 40 pages. Published by Hal Leonard.