Fiddle - Beginning - Intermediate

SKU: MB.30670

Composed by Rowan Leslie. Perfect binding. Celtic / Irish. Book. 156 pages. Mel Bay Publications, Inc #30670. Published by Mel Bay Publications, Inc (MB.30670).

ISBN 9781513465296. 8.75 x 11.75 inches.

This unique collection celebrates the contemporary fiddle music of northeast Ireland, much of it for the first time in print. Not surprisingly, given its location and long history of traditional music, the fiddle music of this region shares some characteristics with Scottish music, yet it has its own distinct style. For those who are not familiar with this ruggedly attractive part of Ireland, this book will introduce you to some of its music and musicians. The tunes presented here, collected by County Antrim fiddler, Rowan Leslie, have all been written relatively recently by local musicians. Each tune is offered in two versions?one with the barebones melody and suggested accompaniment chords, and a second with ornamentation, articulation and bowing details. All tune types from northeast Ireland are represented, including jigs and reels, polkas and hornpipes, marches, barn dances and waltzes, plus set dances and slow airs. Moreover, the biographical sketches and backstories provided for each composer and tune demonstrate how the land itself, along with personal experiences and relationships, influence the fiddle music of northeast Ireland.

For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. 1960s. 320 pages. 9x12 inches. Published by Cherry Lane Music.

For Reading, Writing and More. Composed by Susan Brumfield. ExpressiveArts. Kodaly, Elementary, Collection. Softcover Audio Online. 72 pages. Published by Hal Leonard

Score Only Concert Band (Score) - Level 1.5

SKU: HL.4007054

By Bill Withers. Arranged by Robert Longfield. Flex-Band Grade 1. Oldies, Pop. Softcover. 12 pages. Duration 120 seconds. Published by Hal Leonard (HL.4007054).

UPC: 840126954845. 9.0x12.0x0.024 inches.

Featuring a tuneful melody and a hopeful message for today's world, here is Bill Withers' popular hit from the '70s scored in an easy flex format.

Performed by The Beatles. Piano/Vocal/Chords (Arrangements for piano and voice with guitar chords). Size 9x12 inches. 448 pages. Published by Hal Leonard.

For Guitar (Flatpick). Solos. Guitar Journals. Bluegrass and Country. Level: Beginning-Intermediate. Book. Size 9x11. 192 pages. Published by Mel Bay Publications, Inc.

Fakebook (spiral bound) for Bb instrument. With melody, chord names, introductory text, black and white photos and lyrics (on some songs). 436 pages. Published by Sher Music Company.

Organ solo

SKU: CA.1805220

Composed by Various. Edited by Helmut Volkl. This edition: Paperbound. Hymns by Martin Luther: Ausgaben mit mehreren Luther-Liedern. German title: Vorspiele +Begleitsatze. Organ music based on hymns, Advent, End of the church year, Epiphany, Lent and Passiontide, Ascension, Easter and Eastertide, Whitsun, Trinity, Christmas, Eucharist, Communion, Wedding, Confirmation, Morning, midday, evening. Collection. 160 pages. Carus Verlag #CV 18.052/20. Published by Carus Verlag (CA.1805220).

ISBN 9790007100223.

Scor e available separately - see item CA.1805200.

Book with CD, DVD and Online Support. Composed by Nancy Faber and Randall Faber. Faber Piano Adventures. Educational, Method. Softcover with DVD. 200 pages. Faber Piano Adventures #FF1334CD. Published by Faber Piano Adventures

By Bill Withers. Arranged by Robert Longfield. Flex-Band Grade 1. Oldies, Pop. Softcover. Duration 120 seconds. Published by Hal Leonard

by Mary Ann Harbar. Level: Beginning-Intermediate. Book/CD Set. Size 8.75x11.75. 144 pages. Published by Mel Bay Pub., Inc.

By Bill Withers. By Bill Withers. Arranged by Robert Longfield, Adam Anders, and Tim Davis. Score and Parts. Discovery Concert Band. Grade 1.5. Published by Hal Leonard

(A Revolutionary Method for Beginning Musicians (E-Flat Alto Saxophone)). By Robert Sheldon, Peter Boonshaft, Dave Black, and Bob Phillips. Concert Band. For E-Flat Alto Saxophone. Band Method; Book; CD; DVD; Method/Instruction. Sound Innovations. Beginner. 48 pages

(A Revolutionary Method for Beginning Musicians (B-Flat Tenor Saxophone)). By Robert Sheldon, Peter Boonshaft, Dave Black, and Bob Phillips. Concert Band. For B-Flat Tenor Saxophone. Band Method; Book; CD; DVD; Method/Instruction. Sound Innovations. Beginner. 48 pages

(Orchestra Play-Along Volume 1). By Various. Orchestra Play-Along. Softcover with CD. 40 pages. Published by Hal Leonard

Volume 2, Nos. 34-52 - Book with 2 CDs - Revised Edition. Composed by Carl Baermann (1810-1885). Edited by Robert Erdt. This edition: Saddle stitching. Sheet music with CD. Woodwind Method. Die Klarinettenschule op. 63 von Carl Baermann aus dem Jahr 1867 gilt noch heute als das Standardwerk in der klassischen Klarinettenausbildung. Die grundlegend uberarbeitete Neuausgabe hat sich zum Ziel gesetzt, das padagogische Konzept, das heute immer n. Educational, Classical. Edition with 2 CDs, Softcover with CD. Op. 63. 84 pages. Schott Music #ED21762-50. Published by Schott Music (HL.49044754).

Essential Elements Guitar. Instruction. Softcover Audio Online. With guitar tablature. 96 pages. Published by Hal Leonard

By Scott Joplin. For Piano. (Piano Solo). CD Sheet Music (Version 2.0). PDF file on CD. 850 pages. Published by Subito Music.

Irish traditional music from Packie Manus Byrne of Donegal. compiled and edited by Stephen Jones and Jean Duval. For All Instruments. songbook. Celtic/Irish. Level: Beginning-Intermediate. Book/CD Set. Size 8.75x11.75. 152 pages. Published by Mel Bay Publications, Inc.

(The Singer's Series). By Various. Vocal Collection. Softcover. 96 pages. Published by Hal Leonard

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.