Composed by Various. Instrumental Folio. Softcover. 120 pages. Published by Hal Leonard

Composed by Various. Instrumental Folio. Softcover. 120 pages. Published by Hal Leonard

Composed by Various. Instrumental Folio. Softcover. 120 pages. Published by Hal Leonard

Composed by Various. Instrumental Folio. Softcover. 120 pages. Published by Hal Leonard

Composed by Various. Instrumental Folio. Softcover. 120 pages. Published by Hal Leonard

(Songbook). By The King's Singers. Arranged by The King's Singers. For choir (one, two, or three-part voices) (Songbook). King's Singer's Choral. Pop Vocal, Traditional Folk, Baroque and Classical Period. Difficulty: easy-medium. Vocal score (one, two and three part rounds). Vocal melody, harmony part and leadsheet notation. 80 pages. Published by Hal Leonard

(Guitar Play-Along Volume 154). By Various. For Guitar. Guitar Play-Along. Softcover with CD. Guitar tablature. 56 pages. Published by Hal Leonard

Orchestra Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabassoon, English Horn, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe, Percussion, Trombone 1, Trombone 2, Trumpet 1, Trumpet 2, Tuba, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.44641192L

For 5 Percussionists and Orchestra. Composed by Ellen Taaffe Zwilich. Contemporary. Large Score. With Standard notation. Composed 2003. 72 pages. Duration 30 minutes. Theodore Presser Company #446-41192L. Published by Theodore Presser Company (PR.44641192L).

UPC: 680160610860. 11 x 14 inches.

One of my greatest pleasures in writing a concerto is exploring the new world that opens for me each time I enter the sometimes alien, but always fascinating, world of a solo instrument or instruments. For me, the challenge is to discover the deepest nature of the solo instrument (its karma, if you will) and to allow that essential character to guide the shape and form of the work and the nature of the interaction between soloists and orchestra. In recent years, many of us have become more aware of the musical world outside the Western tradition of musics that follow different procedures and spring from other aesthetics. And contemporary percussionists have opened many of these worlds to us, as they have ventured around the globe, participating in Brazilian Samba schools, studying Gamelan and African drumming with local experts, collecting instruments from Asia and Africa and South America and the South Pacific, widening our horizons in the process. I will never forget our first meeting in Toronto when Nexus invited me into their world of hundreds of exciting percussion instruments. The vast array of instruments in the collection of the Nexus ensemble is truly global in scope as well as offering a thrilling sound-universe. I was inspired by the incredible range of sound and moved by the fact that so many of these instruments were musical reflections of a spiritual dimension. After long consideration, I decided that it would not only be impossible, but even undesirable for this Western-tradition-steeped composer to attempt to use these instruments in a culturally authentic way. My goal was an existential kind of authenticity: searching instead for universal ideas that would be true to both myself and the performers while acknowledging the traditional uses of the instruments. Since many percussion instruments are associated with various kinds of ritual, I decided that I would allow that concept to shape my piece. Rituals is in four movements, each issuing from a ritual associated with percussion, but with the orchestral interaction providing an essential element in the musical form. I. Invocation alludes to the traditions of invoking the spirit of the instruments, or the gods, or the ancestors before performing. II. Ambulation moves from a processional, through march and dance to fantasy based on all three. III. Remembrances alludes to traditions of memorializing. IV. Contests progresses from friendly competition games, contests to a suggestion of a battle of big band drummers, to warlike exchanges. In the 2nd and 4th movements, another percussion tradition, improvisation, is employed. Written into these movements are a number of seeds for improvisation. Indications in the score call for the soloists to improvise in three different ways, marked A for percussion alone; marked B for percussion with and in response to the orchestra; and C where the percussionists are free to add and embellish the written parts. These improvisations should grow out of and embellish previous motives and gestures in the movement.

(65 Soul, Blues, and Funk Classics). Composed by various artists and composers. For Guitar. This edition: Guitar TAB Edition. Artist/Personality; Book; Guitar Mixed Folio; Guitar TAB. The Guitar Collection. Blues; Funk. 256 pages. Published by Alfred Music

Performed by Poison. Guitar Recorded Versions (Authentic note-for-note transcriptions). Softcover. With notes and tablature. Size 9x12 inches. 144 pages. Published by Hal Leonard.

(Guitar Play-Along DVD Volume 18). By Bob Seger. Guitar Play-Along DVD. DVD. Published by Hal Leonard

Performed by Bob Seger. Guitar Recorded Versions (Authentic note-for-note transcriptions). With notes and tablature. Size 9x12 inches. 192 pages. Published by Hal Leonard.

By Jerry Estes. For 3-part mixed choir and piano. Concert, Graduation. Octavo. Published by Heritage Music Press. (15/2402H)

Grade 3

SKU: CL.012-1792-00

Arranged by A. Reed. Concert Band. Bach Series arranged by Alfred Reed. Score and set of parts. Composed 1985. Duration 4 minutes, 1 second. Opus III Wind Orchestra Publications #012-1792-00. Published by Opus III Wind Orchestra Publications (CL.012-1792-00).

An excellent example of Bach as a song writer. Taken from a volume of sacred songs published in 1736, Bach identifies it as an aria, not as a chorale, and must have thought of it as a lyrical melody to be sung in concert rather than as four square chorale.

About Bach Series arranged by Alfred Reed

Maste rful settings for concert band by the venerable Alfred Reed, these works have been scored to achieve richness and beauty without detracting from the textural construction created by Bach himself. Marvelous educational and program material!

Grade 3

SKU: CL.012-1792-01

Arranged by A. Reed. Concert Band. Extra full score. Composed 1985. Duration 4 minutes, 1 second. Opus III Wind Orchestra Publications #012-1792-01. Published by Opus III Wind Orchestra Publications (CL.012-1792-01).

An excellent example of Bach as a song writer. Taken from a volume of sacred songs published in 1736, Bach identifies it as an aria, not as a chorale, and must have thought of it as a lyrical melody to be sung in concert rather than as four square chorale.

Performed by Celine Dion. For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. Adult contemporary and pop vocal. 9x12 inches. Published by Warner Brothers.

By Various. Big Note Songbook (Easy arrangements with large, easy to read notation). Size 9x12 inches. 128 pages. Published by Hal Leonard.

By Various. Gtr Rec Version Licensed Art. Softcover. Guitar tablature. 272 pages. Published by Hal Leonard.

Music from the Motion Picture Soundtrack. Composed by Michael Giacchino. Piano Solo Songbook. Movies. Softcover. Published by Hal Leonard

Performed by Yngwie Malmsteen. For guitar and voice. Format: guitar tablature songbook. With guitar tablature, standard notation, vocal melody, lyrics, chord names, guitar notation legend, performance notes and introductory text. Metal. Series: Hal Leonard Guitar Recorded Versions. 128 pages. 9x12 inches. Published by Hal Leonard.