(Piano/Vocal/Guitar). For Guitar; Keyboard; Piano; Voice. This edition: Piano/Vo...(+)
(Piano/Vocal/Guitar). For
Guitar; Keyboard; Piano;
Voice. This edition:
Piano/Vocal/Guitar. Book;
P/V/C Mixed Folio;
Piano/Vocal/Chords. The
Giant Sheet Music
Collection. Pop; Rock.
272 pages. Published by
Alfred Music Publishing
(60 Favorites for Guitar-driven Worship). Composed by Ed Hogan. String ensemble....(+)
(60 Favorites for
Guitar-driven Worship).
Composed by Ed Hogan.
String ensemble. For
guitar, medium voice.
Easy. Published by
Lillenas Publishing
Company
Soprano voice, mezzo-soprano voice, or tenor voice and piano - Intermediate SK...(+)
Soprano voice,
mezzo-soprano
voice, or tenor voice and
piano - Intermediate
SKU: EC.9229
Composed by Juliana Hall.
E.C.
Schirmer Publishing
#9229.
Published by E.C.
Schirmer
Publishing
E-Z Play Today (Easy big-note right-hand-only arrangements for piano, organ, an...(+)
E-Z Play Today (Easy
big-note right-hand-only
arrangements for piano,
organ, and electronic
keyboard). Size 9x12
inches. 64 pages.
Published by Hal Leonard.
Concert band (BL/BSCHL) SKU: HL.49021121 For the first cooperation...(+)
Concert band (BL/BSCHL)
SKU: HL.49021121
For the first
cooperation. Composed
by Georg Abraham
Schneider. Edited by
Willy Schneider. This
edition: Folding. Sheet
music. Blaserkreis.
Individual part. 4 pages.
Schott Music #BLK 101-19.
Published by Schott Music
(HL.49021121).
ISBN
9790001119214.
Flot
e in C (Oboe oder
Klarinette in C),
Klarinette in Es,
Klarinette I und II in B,
Flugelhorn I und II in B,
Horn I und II in Es,
Trompete I und II in B,
Tenorhorn I, II und III
in B, Posaune
(Bassschlussel), Posaune
(Violinschlussel),
Bariton (Bassschlussel),
Bariton
(Violinschlussel), Tuba
(Bassschlussel), Tuba
(Violinschlussel),
Schlagzeug.
SKU: GI.G-10005 Emerging Skills. Composed by Keitha Lucas Hamann a...(+)
SKU: GI.G-10005
Emerging Skills.
Composed by Keitha Lucas
Hamann and Michele Henry.
Music Education. Book. 72
pages. GIA Publications
#10005. Published by GIA
Publications
(GI.G-10005).
Help your
students Level Up! their
sight-reading skills
using their minds and
ears, as well their
voices! Level Up! is a
sequential, interactive,
and comprehensive
resource built from the
authors’ decades
of research and
experience teaching
students of all levels
and ages. Using the
concept of target skills
(isolated pitch and
rhythm patterns), Level
Up! guides students to
carefully understand and
analyze every new skill
by difficulty. Authors
Michele L. Henry and
Keitha Lucas Hamann then
reinforce each skill by
asking students to
sight-read specially
sequenced practice
melodies. Each of the
five
volumes—Foundation
al, Emerging, Minor,
Developing, and
Advanced—is
designed as an
interactive workbook for
students to mark up, and
is available in both
treble clef and bass clef
editions. The companion
Teacher Manuals include
clear instructions for
how to best use the Level
Up! system, outline the
approach and sequencing,
and provide assessments.
Level Up! supports the
artistic literacy goals
of the National Coalition
for Core Arts Standards
(NCCAS) and many state
music education
standards. The companion
website,
giamusic.com/levelup,
provides even more
reinforcement. The goal
of Level Up! is simple:
to help students become
independent and confident
musicians, with benefits
to last a lifetime!
Michele L. Henry, Ph.D.
is Professor of Choral
Music Education at Baylor
University, Waco, Texas.
Keitha Lucas Hamann,
Ph.D. is Associate
Professor of Music
Education at the
University of Minnesota,
Twin Cities. Â Level
Up! is the most
sequential approach to
the teaching of
sight-reading that
I’ve ever seen!
Designed for use with
singers at the middle
school through high
school levels, the
methodology aligns with
National Standards, UIL,
and TEKS, and is range
related for developing
voices. Within each
lesson, specific skills
are targeted and the
interactive approach
further encourages the
mastery of skills.
Individual assessment is
provided both for
long-term and short-term
goals, thus creating a
complete and accessible
methodology which can be
used in any choral or
general music classroom.
—Lynne Gackle,
Director of Choral
Activities, Baylor
University This book
fills a unique niche in
the field. I love that it
takes the needs of
developing/changing voice
singers into account and
that students can write
in the books like a
workbook as they are
learning the tools for
sight singing. Teachers
will definitely
appreciate the
opportunities for
assessment built into the
series. —Jessica
Nápoles, Associate
Professor of Choral Music
Education, University of
North Texas As a teacher,
I really do love this
resource. It’s
broken down in a way that
makes it very easy to
incorporate into my
lessons, and the fact
that it’s
sequential and very clear
about the concepts
introduced at each level
is extremely helpful. I
can see my students
(beginners especially)
getting better and more
confident with their
sight-reading. I look
forward to using this
resource as our primary
sight-reading resource!
—Courtney Neva,
Choir Director, Dripping
Springs High School.
With companion recordings of Piano Accompaniments Low Voice, Book/Audio. Arrange...(+)
With companion recordings
of Piano Accompaniments
Low Voice, Book/Audio.
Arranged by Harry T.
Burleigh. Vocal
Collection. Sacred,
Spirituals. Softcover
Audio Online. 88 pages.
Published by Hal Leonard
Pop Ballads Piano, Voix et Guitare [Partition] - Facile Hal Leonard
By Various. Arranged by Phillip Keveren. Easy Piano Songbook (Easy arrangements ...(+)
By Various. Arranged by
Phillip Keveren. Easy
Piano Songbook (Easy
arrangements for piano
and voice). Size 9x12
inches. 88 pages.
Published by Hal Leonard.
Piano, Voix et Guitare [Partition] - Intermédiaire/avancé Hal Leonard
Performed by Elton John. Piano/Vocal/Chords Songbook (Arrangements for piano and...(+)
Performed by Elton John.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords). Size 9x12
inches. 176 pages.
Published by Hal Leonard.
Piano - difficult SKU: HL.49045477 Solo Piano. Composed by Han Las...(+)
Piano - difficult
SKU:
HL.49045477
Solo
Piano. Composed by
Han Lash. This edition:
Saddle stitching. Sheet
music. Piano. Classical.
Softcover. Composed 2015.
64 pages. Duration 25'.
Schott Music #ED30168.
Published by Schott Music
(HL.49045477).
ISBN
9781495090219. UPC:
888680671648.
9.0x12.0x0.165
inches.
Pianist
Lisa Moore has an
extraordinary charisma
and energy at her
instrument, with a kind
of musical laser focus
that I find tremendously
inspiring. I wanted to
write her a set of pieces
that would play to her
wonderful range and
character as a performer.
So I decided to write
pieces in the spirit of
etudes: each focuses on a
different type of playing
or technique or pianistic
color. There is one odd
piece out: the 'dream,'
which is in no way an
etude. This 'dream' came
about when I was looking
after Lisa's petunias
while she was away from
home. Unfortunately, her
petunias languished and
died. Feeling very bad, I
wrote a piece to
commemorate the poor
flowers that had perished
in my care. The set of
pieces as a whole is
playful, energetic, and
sometimes dark and
contemplative. It is a
work which reflects my
deep admiration for
Lisa's musicianship and
playing. -Han Lash.
Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
Performed by The Doors. For voice, piano and guitar chords. Format: piano/vocal/...(+)
Performed by The Doors.
For voice, piano and
guitar chords. Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names, guitar chord
diagrams, introductory
text and black and white
photos. Classic rock and
psychedelic rock. 412
pages. 9x12 inches.
Published by Hal Leonard.
Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
Piano/Vocal/Guitar Edition. Piano/Vocal/Chords Songbook (Arrangements for piano ...(+)
Piano/Vocal/Guitar
Edition.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords). Size 9x12
inches. 435 pages.
Published by Hal Leonard.
Bassoon SKU: SU.94010764 For Bassoon. Composed by James Lee III. W...(+)
Bassoon
SKU:
SU.94010764
For
Bassoon. Composed by
James Lee III. Woodwinds,
Bassoon. Score. Subito
Music Corporation
#94010764. Published by
Subito Music Corporation
(SU.94010764).
Dedicated to
Bryan Young, Principal
Bassoon, Baltimore
Chamber OrchestraBassoon
Duration: 5'3 Composed:
2020 Published by: Subito
Music Publishing PROGRAM
NOTE: The year 2020
has definitely been a
very challenging year
with many upheavals.
During this time of the
COVID-19 health crisis,
wearing masks, and high
racial tensions, I
decided to compose four
short solo woodwind works
for flute, oboe,
clarinet, and bassoon,
which represent the core
woodwind section in an
orchestra. I was inspired
to compose these short
pieces after I first
heard Igor Stravinsky's
three short pieces for
clarinet, which totals a
little more than four
minutes in duration. I
thought that it would be
nice to highlight and
honor my African-American
male colleagues in the
orchestral music world. I
wanted to celebrate the
fact that they are the
principal player in the
section of their
respective orchestras.
The short pieces are as
follows: Principal
Brother No. 1 for flute
solo for Demarre McGill,
Principal Flute of the
Seattle Symphony
Orchestra, Principal
Brother No. 2 for oboe
solo for Titus Underwood,
Principal Oboe of the
Nashville Symphony
Orchestra, Principal
Brother No. 3 for
clarinet solo for Anthony
McGill, Principal
Clarinet of the New York
Philharmonic, and
Principal Brother No. 4
for bassoon solo for
Bryan Young, Principal
Bassoon of the Baltimore
Chamber Orchestra. These
works all begin with
notes that are
representative of their
name; D for Demarre, B
for Titus (ti in
solfège starting on
C), A for Anthony, and Bb
for Bryan. There is also
a rhythmic figure in the
opening measures of each
piece, which represent
the utterance of their
names. All four of these
works are rhapsodic in
nature with elements of
improvisation. - James
Lee III.
Easy Instrumental Duets. By The Beatles. Arranged by Mark Phillips. Easy Instr...(+)
Easy Instrumental Duets.
By
The Beatles. Arranged by
Mark
Phillips. Easy
Instrumental
Duets. Duet, Classic
Rock,
Pop, Rock. Softcover. 48
pages. Published by Hal
Leonard
Band Concert Band - Grade 2 SKU: CF.YPS105 Warm-Ups and Fundamentals(+)
Band Concert Band - Grade
2
SKU: CF.YPS105
Warm-Ups and
Fundamentals.
Composed by Larry Clark.
Collate - FS SWS - spine:
3/4 or .75. Young
Performance Series. Set
of Score and Parts. With
Standard notation.
16+4+8+8+4+10+4+4+8+8+8+1
2+4+6+2+2+4+2+20 pages.
Duration 2 minutes, 53
seconds. Carl Fischer
Music #YPS105. Published
by Carl Fischer Music
(CF.YPS105).
ISBN
9780825884870. UPC:
798408084875. 9 x 12
inches. Key: Bb
major.
Based on our
popular New Bennett Band
Book series, we have
compiled march-style
warm-ups in a separate
publication so they may
be used by all bands
wishing to learn from
them. These innovative
warm-ups and fundamental
drills are the ultimate
method of teaching and
reinforcing the March
style. How To Use the
March Warm-upsPlaying in
a march style can present
difficulties for young
students. The most
prevalent problem is that
students have a tendency
to play every note too
short. Conversely,
accented notes are
usually played
incorrectly with too much
tongue. Do marches
contain short notes?
Absolutely, but these
shortest of notes should
be reserved for notes
that precede an accent or
notes that are
specifically marked with
a staccato. Think of
unmarked notes as being
separated, but not short
and certainly not clipped
or stopped with the
tongue. Accented notes
should be played with
more weight using air and
more length, and not just
a harder tongue. Accents
are given to show
emphasis to a note and
should be thought of in
this manner.The warm-up
exercises provided in
this collection should
give you many
opportunities to stress
the above-mentioned
comments on march
performance style. The
following gives an
explanation on the
purpose and use of each
of these exercises.No. 1
– Basic Chords and
ModulationsOne of the
challenges of playing
marches with young
students is successfully
performing the key change
at the Trio. This
exercise presents the
three basic chords
(tonic, subdominant and
dominant) in each of the
three keys in this
collection of marches.
You can also use this
exercise to teach and
reinforce the style of
accented notes. You may
want to have your band
play major scales in
succession by fourths to
reinforce the concept of
modulation to the
subdominant that occurs
at the Trio (i.e. the
B≤-major scale,
then the E≤-major
scale, then the
A≤-major scale). I
might suggest getting the
students to try
continuing the pattern
all the way around the
circle of fourths.No. 2
– March Style in
B≤ MajorThis
exercise contains many
opportunities to teach
and reinforce the
difference between
staccato and accented
notes. The melody voices
move up and down the
B≤-major scale,
while other instruments
play chords commonly
found in the marches in
this collection. These
include diminished
chords, secondary
dominant chords (i.e. the
V of the V) and other
common chromatic chords
that Fillmore often
used.No. 3 –
Cakewalk Rhythm in
B≤ MajorThe simple
syncopated rhythm in this
exercise is common to
many marches. This drill
gives you the opportunity
to teach/ reinforce the
standard ar-ticulation
and natural accent of
this rhythmic pattern.
Again, this exercise uses
an ascending and
descending major-scale
pattern as the melodic
basis, accompanied by
chords commonly found in
American- style
marches.No. 4 –
The March Scale in
B≤ MajorI call this
exercise “The March
Scale,†because
often in marches (and
especially in these
marches) the descending
half-step is part of the
melodic material. These
chromatic figures give
the melodies of many
marches their charm and
flow. Thus, I devised
this exercise and others
like it in E≤ major
and A≤ major to
familiarize students with
these patterns. I would
suggest playing the
pattern in a variety of
ways different from what
is written. Here are some
other
possibilities:•
Tongue one, slur
three• Slur two,
tongue two• Tongue
two, slur two•
Tongue one, slur two,
tongue oneGradually
increase the tempo to the
march tempo and the
articulation style will
fall right into
place.Another important
consideration is the
performance of the bass
line and the bass-drum
part. Too often, the bass
drum and bass instruments
play their parts with
equal emphasis on both
beats in the measure.
This is incorrect, and
frequently makes the
marchNo. 5 – March
Style in E≤
MajorThis is a similar to
exercise No. 2, but with
a different rhythmic
pattern. Emphasize the
difference between
accented and unaccented
notes. Also, play the
exercise with line
direction moving the
musical line forward.
Experiment and play the
exercise with different
dynamic choices and with
hairpins up and down in
different ways.No. 6
– More March Style
in E≤ MajorExercise
No. 6 comprises more
rhythmic patterns and
harmonic materials in
E≤ major to teach
and reinforce the march
style. This exercise
em-phasizes the
sixteenth-note rhythm, as
notated in the third
measure of the exercise.
Young stu- dents have a
tendency to
“crush†the
sixteenths; consequently,
they lack clarity. It
would be a good idea to
work this rhythmic figure
on a scale pattern with
all of the instruments in
the band as an additional
warm-up exercise.No. 7
– The March Scale
in E≤ MajorSee the
information for No. 4 and
apply it to this
exercise. Use all of the
various articulations
described above as
well.No. 8 – March
Style in A≤
MajorSee the information
for No. 2 and apply it to
this exercise.No. 9
– Cakewalk Rhythm
in A≤ MajorSee the
information for No. 3 and
apply it to this
exercise.No. 10 –
The March Scale in
A≤ MajorSee the
information for No. 4 and
apply it to this
exercise.Other Ideas for
March PerformanceA
rehearsal practice that
has worked very well for
me is to start out by
having the band play the
march very slowly at
about Å’ = 60 in a
chorale/legato style. The
slow tempo is a fine
opportunity to work on
clarity of harmonic move-
ment and to work on the
balance and blend of the
tutti band sound. This
will pay great dividends
toward improving the
sound of your band.
Gradually increase the
tempo to the march tempo
and the articulation
style will fall right
into place.Another
important consideration
is the performance of the
bass line and the
bass-drum part. Too
often, the bass drum and
bass instruments play
their parts with equal
emphasis on both beats in
the measure. This is
incorrect, and frequently
makes the march.
Choral Children's choir, Piano SKU: PR.312419260 From Terra Nostra...(+)
Choral Children's choir,
Piano
SKU:
PR.312419260
From
Terra Nostra.
Composed by Stacy Garrop.
Performance Score. 8
pages. Duration 2:45.
Theodore Presser Company
#312-41926. Published by
Theodore Presser Company
(PR.312419260).
ISBN
9781491137901. UPC:
680160692590.
Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s World” by
Edna St. Vincent Millay,
which describes the world
in exuberant and vivid
detail. Percy Bysshe
Shelley’s “On thine
own child” praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O voluptuous
cool-breathed earth!”
Part I ends with “A
Blade of Grass” in
which Whitman muses how
our planet has been
spinning in the heavens
for a very long time.Part
II: The Rise of Humanity
examines the achievements
of mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley Hall” sets
an auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s “Railways
1846,” William Ernest
Henley’s “A Song of
Speed,” and John
Gillespie Magee, Jr.’s
“High Flight,” each
of which celebrates a new
milestone in
technological
achievement. In “Binsey
Poplars,” Gerard Manley
Hopkins takes note of the
effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A Dirge”
concludes Part II with a
warning that the planet
is beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s plight,
re-establish a deeper
connection to it, and
find a balance for living
within our planet’s
resources. Three texts
continue the earth’s
plea that ended the
previous section: Lord
Byron’s “Darkness”
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s “Earth
Screaming” gives voice
to the modern issues of
our changing climate; and
William Wordsworth’s
“The World Is Too Much
With Us” warns us that
we are almost out of time
to change our course.
Contemporary/agrarian
poet Wendell Berry’s
“The Want of Peace”
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts (“A
Child said, What is the
grass?” and “There
was a child went forth
every day”) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s “A Blade
of Grass” from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states, “I
bequeath myself to the
dirt to grow from the
grass I love…”My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
By Connie Ray. Edited by Mike Craver. Arranged by Mike Craver And Mark Hardwick....(+)
By Connie Ray. Edited by
Mike Craver. Arranged by
Mike Craver And Mark
Hardwick. For
Piano/Vocal/Guitar. Music
from the Off-Broadway
Hit. Broadway, Gospel,
Bluegrass. Songbook. 64
pages. Published by
Shawnee Press.