Medium Voice and Piano

SKU: BT.ALHE8315

Composed by Reynaldo Hahn. Book Only. 96 pages. Heugel & Cie #ALHE8315. Published by Heugel & Cie (BT.ALHE8315).

French.

Contents :

Rêverie - Si Mes Vers Avaient Des Ailes - Moi - Paysage - L'Enamourée - Seule - La Nuit - Offrande - Trois Jours De Vendange - Infidelité - Fêtes Galantes - Cimetière De Campagne - Fleur Fanée - L'Incredule - Les Cygnes - D'Une Prison - Dernier Voeu - Seraphine - Nocturne - A Phidyle.

SKU: CL.013-0774-00

March. Composed by Buys. Band. Score and set of parts. Composed 1922. C.L. Barnhouse #013-0774-00. Published by C.L. Barnhouse (CL.013-0774-00).

Medium Voice and Piano

SKU: BT.ALHE27627

Composed by Reynaldo Hahn. Exam Material. Book Only. 88 pages. Heugel & Cie #ALHE27627. Published by Heugel & Cie (BT.ALHE27627).

French.

Contents :

Quand la nuit n'est pas étoilée - Cantique - La Délaissée - La Chère Blessure - Théone - Le souvenir d'voir Cante - Quand je fus pris au pavillon - Chanson au bord de la fontaine - Sur l'eau - Fumée - Le printemps - Dans la nuit - Les fontaines - Chloris - Le Rossignol des lilas - nos morts ignorés - Ma jeunesse - Le plus beau présent - Puisque j'ai mis ma lèvre - La douce paix.

Grade 3

SKU: CL.032-3744-01

Composed by Vuono. Jazz Ensemble. Audio recording available separately (items CL.991-2008-02 & CL.991-2008-01). Extra full score. Composed 2008. Duration 3 minutes, 42 seconds. C.L. Barnhouse #032-3744-01. Published by C.L. Barnhouse (CL.032-3744-01).

Beautifully written in a slow swing, this impressive swing ballad is an excellent showcase for your lead trombone player. Rob keeps the ranges modest throughout, yet achieves a most sophisticated sound by way of a well-crafted melody, paired with a distinctive set of chord changes and well written ensembles. Rhythm section parts are fully notated along with chord changes to ensure success. Sure to be a favorite in any book, this chart has the timeless feel of a true standard.

Grade 3

SKU: CL.SCM-1126-01

Composed by Carubia. Jazz Ensemble. Extra full score. C.L. Barnhouse #SCM-1126-01. Published by C.L. Barnhouse (CL.SCM-1126-01).

This moderate tempo Latin-style composition has plenty of unison ensemble writing. Attainable with limited rehearsal time, this energetic straight-forward chart will please your band and audience leaving them wanting more!

Grade 4

SKU: CL.013-2855-00

March. Composed by King. Band. Score and set of parts. C.L. Barnhouse #013-2855-00. Published by C.L. Barnhouse (CL.013-2855-00).

Thayer Military Band.

Grade 3

SKU: CL.014-0053-00

March. Composed by Huffine. Band. Score and set of parts. Composed 1928. C.L. Barnhouse #014-0053-00. Published by C.L. Barnhouse (CL.014-0053-00).

Note: This is a reprint from a vintage publication of 1928. No conductor score is published for this work. The Solo Cornet part serves as a conductor guide. Parts for Eb Horns are included; no F Horn parts are published for this work. If a C Piccolo/C Flute part was not published originally, one has been subsequently added by our editorial staff.

Grade 3

SKU: CL.SCM-1126-00

Composed by Carubia. Jazz Ensemble. Score and set of parts. C.L. Barnhouse #SCM-1126-00. Published by C.L. Barnhouse (CL.SCM-1126-00).

This moderate tempo Latin-style composition has plenty of unison ensemble writing. Attainable with limited rehearsal time, this energetic straight-forward chart will please your band and audience leaving them wanting more!

Grade 3

SKU: CL.032-3744-00

Composed by Vuono. Jazz Ensemble. Audio recording available separately (items CL.991-2008-02 & CL.991-2008-01). Score and set of parts. Composed 2008. Duration 3 minutes, 42 seconds. C.L. Barnhouse #032-3744-00. Published by C.L. Barnhouse (CL.032-3744-00).

Beautifully written in a slow swing, this impressive swing ballad is an excellent showcase for your lead trombone player. Rob keeps the ranges modest throughout, yet achieves a most sophisticated sound by way of a well-crafted melody, paired with a distinctive set of chord changes and well written ensembles. Rhythm section parts are fully notated along with chord changes to ensure success. Sure to be a favorite in any book, this chart has the timeless feel of a true standard.

Composed by Camille Saint- Saens (1835-1921). Edited by Christina M. Stahl. This edition: urtext edition. Stapled. Barenreiter Urtext. Choral score. Opus 12. 12 pages. Baerenreiter Verlag #BA11304-91. Published by Baerenreiter Verlag

By Harry James, Duke Ellington, Johnny Hodges, And Don George. Arranged by Russell L. Robinson. For Choir. (SATB). Choral Octavo. Pop Choral Series. Level: Moderate (grade 3). Choral Octavo. 12 pages. Published by Alfred Publishing.

((incorporating This Little Light of Mine)). Arranged by Russell L. Robinson. For Choral (SSA). Festival Choral. 12 pages. Published by Hal Leonard

Composed by Mary Donnelly and George L.O. Strid. Voices Together. Graduation, Inspirational, Young Choir, Youth Choir. Octavo. 12 pages. Published by Hal Leonard

((incorporating This Little Light of Mine)). Arranged by Russell L. Robinson. SATB. Festival Choral. 12 pages

By Harry James, Duke Ellington, Johnny Hodges, And Don George. Arranged by Russell L. Robinson. For Choir. Choral Octavo. Pop Choral Series. CD. Published by Alfred Publishing.

By Larry Neeck. Jazz ensemble. Grade 2.5. Score and set of parts. Composed 1995. Published by C.L. Barnhouse

Concert band. Walking Frog Records. CD. Composed 2004. Published by C.L. Barnhouse

Guitar - Intermediate

SKU: DY.DO-1522

Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. Les Editions Doberman-Yppan #DO 1522. Published by Les Editions Doberman-Yppan (DY.DO-1522).

ISBN 9782897963026.

Fran cis Bebey est né à Douala en juillet 1929, dans une grande famille où son père, pasteur, luttait pour nourrir ses enfants. Mais Francis a eu l'opportunité d'aller à l'école. Admirant son frère aîné, Marcel Eyidi Bebey, il s'est éduqué, s'est distingué, et a finalement reçu une bourse pour passer son baccalauréat en France.
Nous approchions de la fin des années 1950 lorsqu'il est arrivé à La Rochelle. Plus que jamais, dans cette France où les Africains étaient regardés avec curiosité, condescendance ou dédain, Francis s'appuyait sur ses ressources intellectuelles. Travailleur assidu, il a obtenu son baccalauréat, puis s'est installé à Paris où il a commencé des études d'anglais à la Sorbonne. Un jour, il a su ce qui l'attirait vraiment : il voulait faire de la radio. Francis a appris son métier en France et aux �tats-Unis.
Après avoir travaillé quelques années comme reporter, il a été embauché en 1961 en tant que fonctionnaire international au Département de l'information de l'UNESCO.
Parallèle ment, Francis a toujours été attiré par la création musicale. Son activité diurne très sérieuse ne l'empêchait pas de fréquenter les clubs de jazz le soir. � Paris, le jazz, la musique à la mode à cette époque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait à de nombreux concerts. Avec son complice Manu Dibango, Francis montait sur scène et jouait de la musique.
Francis aimait la musique classique depuis son enfance. Il avait grandi en écoutant les cantates et les oratorios de Bach ou Handel que son père chantait au temple. Il s'est passionné pour la guitare, impressionné par les maîtres espagnols et sud-américains, et a décidé d'apprendre à jouer de l'instrument lui-même.
Il a commencé à composer des pièces pour guitare, mêlant les diverses influences qui le traversaient avec la musique traditionnelle africaine qu'il portait en lui depuis son enfance. Son approche a captivé le directeur du Centre culturel américain (alors situé dans le quartier de Saint-Germain à Paris), qui lui a offert l'opportunité de se produire devant un public. Francis y a donné son premier récital de guitare (1963) devant un public hypnotisé. Son premier album solo est sorti peu de temps après.
Progressivem ent, Francis est devenu reconnu comme musicien et compositeur. Plusieurs albums de l'ambassadeur africain de la guitare, comme le décrivait la presse, sont sortis. Il a également écrit des livres, au point que sa carrière artistique est devenue difficile à concilier avec sa carrière de fonctionnaire. En 1974, même s'il était devenu le directeur général chargé de la musique à l'UNESCO, il a fait le saut audacieux et a démissionné de cette prestigieuse institution pour se consacrer aux trois activités qui l'intéressaient : la musique, la littérature et le journalisme.
Il a exploré le patrimoine musical traditionnel du continent africain, notamment à travers le piano à pouce sanza et la musique polyphonique des pygmées d'Afrique centrale, ou en chantant dans sa langue maternelle et en composant des chansons humoristiques en français !
Le succès a suivi. Francis Bebey a parcouru le monde : de la France au Brésil, du Cameroun à la Suède, de l'Allemagne aux Caraïbes, ou du Maroc au Japon... la liste des pays où il a été invité à se produire, à donner des conférences ou à rencontrer des lecteurs est très longue. En plus de la reconnaissance publique, il bénéficiait de la reconnaissance de ses collègues musiciens, tels que le guitariste John Williams ou le Vénézuélien Antonio Lauro, qui l'ont invité à faire partie du jury d'un concours de guitare classique à Caracas.
Sa vie était le voyage d'un pionnier africain, un homme enraciné dans son patrimoine culturel et portant un message de partage et d'espoir pour le monde. Son originalité continue de résonner dans le monde entier depuis son décès à la fin du mois de mai 2001.

Francis Bebey was born in Douala in July 1929, into a large family where his father, a pastor, struggled to feed his children. But Francis had the opportunity to go to school. Admiring his elder brother, Marcel Eyidi Bebey, he educated himself, distinguished himself, and eventually received a scholarship to go and take his baccalaureate in France.
We approached the end of the 1950s when he arrived in La Rochelle. More than ever, in this France where Africans were looked at with curiosity, condescension, or disdain, Francis relied on his intellectual resources. A diligent worker, he obtained his Baccalaureate, then moved to Paris where he started English studies at the Sorbonne. One day, he knew what truly attracted him: he wanted to do radio. Francis learned his craft in France and in the USA.
After working for a few years as a reporter, he was hired in 1961 as an international civil servant in the UNESCO Information Department.
In parallel, Francis had always been drawn to musical creation. His very serious daytime activity didnâ??t prevent him from frequenting jazz clubs in the evenings. In Paris, the Jazz, the trendy music of that time, but also rumba and salsa attracted him. He collected records and attended numerous concerts. With his accomplice Manu Dibango, Francis took the stage and played music.
Francis liked classical music since his childhood. He grew up listening to the cantatas and oratorios of Bach or Handel that his father had sung in the temple. He became passionate about the guitar, impressed by the Spanish and South American masters, and decided to learn to strum the instrument himself.
He started composing guitar pieces, blending the various influences that flow through him with the traditional African music he had carried within since childhood. His approach captivated the director of the American Cultural Center (then located in the Saint-Germain neighborhood of Paris), who offered him the opportunity to perform in front of an audience. Francis gave his first guitar recital there (1963) in front of a mesmerized audience. His first solo album was released shortly thereafter.
Gradually, Francis became recognized as a musician and composer. Several albums of the African guitar ambassador, as described by the press, were released. He also wrote books, to the point that his artistic career became challenging to reconcile with his career as a civil servant. In 1974, even though he had become the General Manager in charge of music at UNESCO, he took the bold leap and resigned from this prestigious institution to dedicated himself to the three activities that interested him: music, literature, and journalism.
He explored the traditional musical heritage of the African continent, notably through the thumb piano sanza, and the polyphonic music of the Central African pygmies, or singing in his native language and composing humoristic songs in French!
Success followed. Francis Bebey traveled the world: from France to Brazil, Cameroon to Sweden, Germany to the Carribean, or Morocco to Japan... the list of countries where he was invited to perform, gives lectures, or meets readers is very long. In addition to public recognition, he enjoyed the recognition of his fellow musicians, such as guitarist John Williams or Venezuelan Antonio Lauro, who invited him to be a part of the jury for a classical guitar competition in Caracas.
His life was the journey of an African pioneer, a man rooted in his cultural heritage and carrying a message of sharing and hope for the world. His originality continues to vibrate around the world since his passing at the end of May 2001.

By Various. Edited by Velvel Pasternak. For Melody/Lyrics/Chords. Tara Books. Softcover. 218 pages. Published by Tara Publications

For voice, guitar or piano. Album. Pop / Jazz. Score. Published by Editions Henry Lemoine

By Edvard Grieg. Edited by Fog/Grinde. For voice, piano. Op. 58,59,60,61,67,69, and 70; EG 121-157, Edition in original keys in accordance with Edvard Grieg: Complete Works (volume 14), edited by the Edvard Grieg Committee, Oslo (urtext). Published by C.F. Peters.

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1094759-010

Composed by Jacques Morali. Arranged by Naoyuki Honzawa. New Sounds for Concert Band. Concert Piece. Set (Score & Parts). Composed 2009. De Haske Publications #DHP 1094759-010. Published by De Haske Publications (BT.DHP-1094759-010).

9x12 inches. English-German-French-Dut ch.

Y.M.C.A. is without a doubt the biggest hit of the outlandish pop group The Village People. In their own unique way this band stood out with its colourful, American, clichee-referencing costumes, mixed with the disco fever that swept the 70’s away. Y.M.C.A. is a song for all ages. Your audience will dance along to this fun and energetic arrangement!

Y.M.C.A. ist der größte Hit der vom Produzentenduo Morali und Belolo ins Leben gerufenen Gruppe The Village People. Wie kaum eine andere Band steht diese Formation mit ihren bunten, amerikanischen Klischees reflektierenden Kostümen, für die Discobewegung der siebziger Jahre. Mit Y.M.C.A bringen Sie Ihr Publikum dazu, aufzustehen und mitzufeiern!

Formé en 1977 par deux auteurs et producteurs français (Jacques Morali et Henri Belolo), le groupe Village People se distingue par l'originalité presque politique de son concept artistique qui se voulait dénonciateur et parodique de la non-reconnaissance des minorités. Avec des chansons comme In the Navy, Macho Man et l’incontournable Y.M.C.A., le groupe connaît un succès mondial et devient emblématique de la musique disco.

Fondato nel 1977 da Jacques Morali e Henri Belolo, il gruppo Village People si contraddistinse per l’originalit quasi politica del suo concetto artistico che intendeva denunciare il non-riconoscimento delle minoranze. Con canzoni come In the Navy, Macho Man e l’indimenticabile Y.M.C.A., il gruppo conobbe un successo mondiale.