By Kristin Campbell; Ruth Coleman. For violin and piano. General, Eastertide, Christmas. Sacred instrumental. Published by Exaltation Publications.

For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Traditional pop and vocal standards. Series: Hal Leonard Fake Books. 424 pages. 9x12 inches. Published by Hal Leonard.

By Campbell. For violin. Instrumental collection. Intermediate. Published by SoundForth

For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Folk. Series: Hal Leonard Fake Books. 536 pages. 9.6x12 inches. Published by Hal Leonard.

By Coleman, Campbell. For string instruments(s). Instrumental. Level: Intermediate. Published by SoundForth.

Music Sales America. Musicals. Music Sales #NOV072470. Published by Music Sales

Soprano Recorder - late intermediate

SKU: BT.CMP-1065-05-400

Book with CD. Composed 2005. 52 pages. Curnow Music #CMP 1065-05-400. Published by Curnow Music (BT.CMP-1065-05-400).

ISBN 9789043124027. 9x12 inches. English.

Celtic Folk Songs for All Ages is a delightful collection of rich tunes and ballads specifically distinctive to the cultures of Scotland, Newfoundland, Ireland, and England. The accompaniment CD (included in the solo book) provides two tracks for each tune. The first track includes a sample performance of the solo with the accompaniment. The second track is just the accompaniment, allowing the soloist to play along. There is also a separate Piano accompaniment available.

Een rijke verzameling van Keltische liederen en balladen uit Schotland, Newfoundland, Ierland en Engeland met kleurrijke begeleidingen. Op de bijgevoegde cd staan voorbeeld- en meespeeltracks. De pianobegeleiding is afzonderlijk verkrijgbaar.Inhoud: Aiken Drum • The Ash Grove • The Bluebells of Scotland • Loch Lomond • When Irish Eyes Are Smiling • Molly Malone • We'll Rant and We'll Roar e.a.

Eine reichhaltige Sammlung von keltischen Liedern und Balladen aus Schottland, Neufundland, Irland und England. Die ursprünglich im Alltag gesungenen, eingängigen Lieder wurden mit klangfarbenreichen Begleitungen versehen. Auf der beiliegenden CD erklingen die Lieder einmal komplett mit Solo und Begleitung und einmal nur als Begleitversion zum Mitspielen. Die Klavierbegleitungen sind ebenfalls enthalten.

Celtic Folksongs for All Ages rassemble des airs et des ballades aux riches tonalités des cultures écossaise, irlandaise, anglaise et terre-neuvienne. Sur le compact disc, vous trouverez une version intégrale de chaque oeuvre ainsi qu’une version où ne subsiste que l’accompagnement au piano. (Une version papier des accompagnements de piano est jointe au recueil)

Affrontate un viaggio musicale attraverso la musica celtica. James Curnow e Timothy Campbell arrangiano ballate e melodie provenienti dalla Scozia, dall’Inghilterra e dall’Irlanda. Il CD incluso contiene l’accompagnamento al pianoforte come anche una versione demo eseguita da vari strumenti. Ascoltando le registrazioni complete vi farete un’idea di come meglio raggiungere la giusta interpretazione. Con Celtic Folksongs for All Ages allargherete sicuramente gli orizzonti musicali e culturali del vostro repertorio, e potrete stupire il pubblico con uno spumeggiante ed insolito bis. Le parti del pianoforte sono vendute separatamente.

SATB Choir

SKU: HL.14041435

Composed by Geoffrey Burgon. Large Choral. Classical. Book [Softcover]. Composed 2010. Chester Music #CH74250. Published by Chester Music (HL.14041435).

UPC: 884088915070. 6.75x9.75x0.257 inches.

Features five songs, also known as St John Of The Cross (Canciones Entre El Alma Y El Esposo).

• Where can your hiding be
• But have been found again
• Of flowers and emeralds sheen
• Now, as she longaspired
• Rejoice, my love, with me

Cancion es entre el alma y el esposo is a poem consisting of forty verses, reproduced below. Havingpreviously set two sections of it as separate a cappella choruses and one fortwo countertenors andstrings, I've long wanted to make a complete setting of the work and, by arranging the countertenorpiece for a cappella chorus and setting the remaining verses as two more anthems for the same forces,I'vecompleted the task. The five pieces can of course still be performed separately, or brought togetheras a twenty-five minute setting of Roy Campbell's translation from the original Spanish of this vivid andintense poem.Geoffrey Burgon, May 2008.

Piano, Vocal & Guitar

SKU: HL.14006043

Shows & Cantatas. Music Sales America. Musicals. Music Sales #NOV072469. Published by Music Sales (HL.14006043).

Debbie Campbell. A wonderful environmental musical with 12 memorable songs telling the tale of Bottlenose the dolphin who is taken into captivity. The sea creatures, including the 'Godfather' Great White Shark and his godson Hammerhead join together with some caring humans and succeed in getting Bottlenose released back into the sea. Songs include 'Look Out For The Hook', 'On With The Show' and 'Stranger In The Sea' and are in a wide range of styles from country and western to rock 'n' roll and rap.

Band Agogo Bells, Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Triangle, Trombone, Trumpet, Tuba and more. - Grade 3

SKU: CF.CPS256

Composed by Chris Campbell. Set of Score and Parts. 21+8+8+4+8+8+4+4+10+4+4+1 6+8+12+6+4+8+2+4+14 pages. Duration 2 minutes, 36 seconds. Carl Fischer Music #CPS256. Published by Carl Fischer Music (CF.CPS256).

ISBN 9781491159712. UPC: 680160918300.

As the title suggests, there should be a tongue-in-cheek aspect to the performance of this piece with the idea that it doesn't take itself too seriously. Close attention should be paid to staccato notes, making sure not to play them too short and clipped, keeping in mind that a staccato quarter note should have the length of an eighth note and not the length of a sixteenth note. Although the piece is a march, it needn't conform to any strict interpretation of what a march should be. Some of the tongued eighth-note passages may need to be double-tongued, depending on tempo, using the Dig-A-Duck method. For instance at m. 34 the repeated eighth notes might be tongued dig-a-da-duck, dig-a-duck, da dot dot. Slurred eighth-note passages should follow the curve of the line, getting slightly louder as notes ascend and slightly softer as they descend. Measure 39 through m. 51 will have a somewhat chaotic feel, so go with the flow! The sparsely orchestrated passage at m. 68 is understated--perhaps a little spacey in keeping with our theme--and not to be overplayed until the crescendo at m. 88, when we return to business as usual. Trumpets show off again (rarely a problem for trumpet players) on the D. S. back to m. 6. On the Coda, another disjointed-sounding theme, again departing from any strict interpretation of a march--again, making sure that the staccatos are not too clipped--is followed by a repeat of the main theme, this time layered. Care should be taken to balance the entrances of the layered instrument groups as they enter. An exuberant final four measures puts the cherry on top. Percussion can play out for the most part, very little subtlety required. Overall, this piece is meant to be FUN, for both the performers and the audience!.
As the title suggests, there should be a tongue-in-cheek aspect to the performance of this piece with the idea that it doesn't take itself too seriously. Close attention should be paid to staccato notes, making surenot to play them too short and clipped, keeping in mind that a staccato quarter note should have the length of an eighth note and not the length of a sixteenth note. Although the piece is a march, it needn't conform toany strict interpretation of what a march should be. Some of the tongued eighth-note passages may need to be double-tongued, depending on tempo, using the Dig-A-Duck method. For instance at m. 34the repeated eighth notes might be tongued dig-a-da-duck, dig-a-duck, da dot dot. Slurred eighth-note passages should follow the curve of the line, getting slightly louder as notes ascend and slightly softeras they descend. Measure 39 through m. 51 will have a somewhat chaotic feel, so go with the flow!The sparsely orchestrated passage at m. 68 is understated—perhaps a little spacey in keeping with our theme—and not to be overplayed until the crescendo at m. 88, when we return to business as usual. Trumpets show off again (rarely a problem for trumpet players) on the D. S. back to m. 6. On the Coda, another disjointed-sounding theme, again departing from any strict interpretation of a march—again, making sure that the staccatos are not too clipped—is followed by a repeat of the main theme, this time layered. Care should be taken to balance the entrances of the layered instrument groups as they enter.An exuberant final four measures puts the cherry on top. Percussion can play out for the most part, very little subtlety required. Overall, this piece is meant to be FUN, for both the performers and the audience!

Band Agogo Bells, Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Triangle, Trombone, Trumpet, Tuba and more. - Grade 3

SKU: CF.CPS256F

Composed by Chris Campbell. Full score. 21 pages. Carl Fischer Music #CPS256F. Published by Carl Fischer Music (CF.CPS256F).

ISBN 9781491159729. UPC: 680160918317.

As the title suggests, there should be a tongue-in-cheek aspect to the performance of this piece with the idea that it doesn't take itself too seriously. Close attention should be paid to staccato notes, making sure not to play them too short and clipped, keeping in mind that a staccato quarter note should have the length of an eighth note and not the length of a sixteenth note. Although the piece is a march, it needn't conform to any strict interpretation of what a march should be. Some of the tongued eighth-note passages may need to be double-tongued, depending on tempo, using the Dig-A-Duck method. For instance at m. 34 the repeated eighth notes might be tongued dig-a-da-duck, dig-a-duck, da dot dot. Slurred eighth-note passages should follow the curve of the line, getting slightly louder as notes ascend and slightly softer as they descend. Measure 39 through m. 51 will have a somewhat chaotic feel, so go with the flow! The sparsely orchestrated passage at m. 68 is understated--perhaps a little spacey in keeping with our theme--and not to be overplayed until the crescendo at m. 88, when we return to business as usual. Trumpets show off again (rarely a problem for trumpet players) on the D. S. back to m. 6. On the Coda, another disjointed-sounding theme, again departing from any strict interpretation of a march--again, making sure that the staccatos are not too clipped--is followed by a repeat of the main theme, this time layered. Care should be taken to balance the entrances of the layered instrument groups as they enter. An exuberant final four measures puts the cherry on top. Percussion can play out for the most part, very little subtlety required. Overall, this piece is meant to be FUN, for both the performers and the audience!.
As the title suggests, there should be a tongue-in-cheek aspect to the performance of this piece with the idea that it doesn't take itself too seriously. Close attention should be paid to staccato notes, making surenot to play them too short and clipped, keeping in mind that a staccato quarter note should have the length of an eighth note and not the length of a sixteenth note. Although the piece is a march, it needn't conform toany strict interpretation of what a march should be. Some of the tongued eighth-note passages may need to be double-tongued, depending on tempo, using the Dig-A-Duck method. For instance at m. 34the repeated eighth notes might be tongued dig-a-da-duck, dig-a-duck, da dot dot. Slurred eighth-note passages should follow the curve of the line, getting slightly louder as notes ascend and slightly softeras they descend. Measure 39 through m. 51 will have a somewhat chaotic feel, so go with the flow!The sparsely orchestrated passage at m. 68 is understated—perhaps a little spacey in keeping with our theme—and not to be overplayed until the crescendo at m. 88, when we return to business as usual. Trumpets show off again (rarely a problem for trumpet players) on the D. S. back to m. 6. On the Coda, another disjointed-sounding theme, again departing from any strict interpretation of a march—again, making sure that the staccatos are not too clipped—is followed by a repeat of the main theme, this time layered. Care should be taken to balance the entrances of the layered instrument groups as they enter.An exuberant final four measures puts the cherry on top. Percussion can play out for the most part, very little subtlety required. Overall, this piece is meant to be FUN, for both the performers and the audience!

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Claves, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum, Tambourine, Timpani, Triangle and more. - Grade 2

SKU: CF.YPS220F

Composed by Chris Campbell. Sws. Yps. With a nod toward Western movie theme songs, The Elven Eleven is a quirky look at a troop of pony-riding elves on a quest for adventure. Join them as they romp through the countryside in search of treasures, conquests, and revelry! Full score. 20 pages. Duration 3. Carl Fischer Music #YPS220F. Published by Carl Fischer Music (CF.YPS220F).

ISBN 9781491156599. UPC: 680160915132. 9 x 12 inches.

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Claves, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum, Tambourine, Timpani, Triangle and more. - Grade 2

SKU: CF.YPS220

Composed by Chris Campbell. Folio. Yps. With a nod toward Western movie theme songs, The Elven Eleven is a quirky look at a troop of pony-riding elves on a quest for adventure. Join them as they romp through the countryside in search of treasures, conquests, and revelry! Set of Score and Parts. 8+8+4+8+8+4+10+4+4+8+8+8+ 4+6+2+12+6+2+2+10+4+20 pages. Duration 3. Carl Fischer Music #YPS220. Published by Carl Fischer Music (CF.YPS220).

ISBN 9781491156582. UPC: 680160915125. 9 x 12 inches.

Piano/harpsichord and orchestra (solo: pno - picc.2.2.Eh.2.Bcl.2 - 4.3.3.1 - timp.perc - str)

SKU: BR.PB-15140

Urtext. Composed by George Gershwin. Edited by Norbert Gertsch. Orchestra; Softbound. Partitur-Bibliothek (Score Library). Solo concerto; Early modern; Music post-1945. Full score. 136 pages. Duration 36'. Breitkopf and Haertel #PB 15140. Published by Breitkopf and Haertel (BR.PB-15140).

ISBN 9790004214763. 10 x 12.5 inches.

After achieving sensational success with the musical Lady, be good!, with evergreens such as Fascinating Rhythm and The Man I love, as well as with his Rhapsody in Blue, Gershwin premiered his Concerto in F for piano and orchestra as a soloist at Carnegie Hall in 1925. Now, the new superstar of Broadway had also arrived at the center of New York's classical music scene. In its eventful history, the work went through numerous changes, cuttings, arrangements, many of which doubtful and unauthorized. Even the first and so far only printed orchestral score, edited by Frank Campbell-Watson, published in 1942 five years after Gershwin's death, contains many unauthorized interventions. Through years of research, editor Norbert Gertsch has succeeded in ridding the work of all unauthorized additions and alterations and thus reconstructing an Urtext in its original literal sense from the complex source material - from autograph sketches to early recordings. The first text-critical edition of the work is a joint production of Breitkopf (score/orchestral parts) and G. Henle Verlag (piano reduction).

Piano/harpsichord and orchestra (solo: pno - picc.2.2.Eh.2.Bcl.2 - 4.3.3.1 - timp.perc - str)

SKU: BR.EB-10859

Urtext. Composed by George Gershwin. Orchestra; Softbound. Edition Breitkopf. Solo concerto; Early modern; Music post-1945. Piano reduction. 88 pages. Duration 36'. Breitkopf and Haertel #EB 10859. Published by Breitkopf and Haertel (BR.EB-10859).

ISBN 9790201808598. 9.5 x 12 inches.

After achieving sensational success with the musical Lady, be good! , with evergreens such as Fascinating Rhythm and The Man I love, as well as with his Rhapsody in Blue , Gershwin premiered his Concerto in F for piano and orchestra as a soloist at Carnegie Hall in 1925. Now, the new superstar of Broadway had also arrived at the center of New York's classical music scene. In its eventful history, the work went through numerous changes, cuttings, arrangements, many of which doubtful and unauthorized. Even the first and so far only printed orchestral score, edited by Frank Campbell-Watson, published in 1942 five years after Gershwin's death, contains many unauthorized interventions. Through years of research, editor Norbert Gertsch has succeeded in ridding the work of all unauthorized additions and alterations and thus reconstructing an Urtext in its original literal sense from the complex source material - from autograph sketches to early recordings. The first text-critical edition of the work is a joint production of Breitkopf (score/orchestral parts) and G. Henle Verlag (piano reduction).