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.

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.

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 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

Essential Elements Guitar. Instruction. Softcover Audio Online. With guitar tablature. 96 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).

50 years of legendary guitar. By John McClellan and Deyan Bratic. For Guitar (Fingerpicking). Transcribed solos. Country. Level: Advanced. Book. Size 8.75x11.75. 208 pages. Published by Mel Bay Publications, Inc.

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.

Composed by Star Edwards. Harp: Folk and Pedal,Style,Celtic / Irish,Classical,Folk,Feat ured Products,Method. Young Beginner. Book and Online Audio. 80 pages. Published by Mel Bay Publications, Inc

Performed by The Allman Brothers Band. For guitar and voice. Format: guitar tablature songbook. With guitar tablature, standard notation, vocal melody, lyrics, chord names, guitar chord diagrams, guitar notation legend, black & white photos and introductory text. Blues rock and classic rock. Series: Hal Leonard Guitar Recorded Versions. 191 pages. 9x12 inches. Published by Hal Leonard.

Guitar - Intermediate

SKU: MB.WBM75M

Saddle-stitched. Folk. Book and online audio. Mel Bay Publications, Inc #WBM75M. Published by Mel Bay Publications, Inc (MB.WBM75M).

ISBN 9781737795353. 8.75X11.75 inches.

This is a collection of 86 guitar solos in notation only from William Bayâ??s books, Solo Guitar in Worship, Communion, Psalms, Timeless Gospel Melodies and Spirituals. The solos work well as preludes, offertories, communion hymns, recessionals or they can be played for enjoyment.  All 86 solos have been recorded and are available as online downloads with this book.

Composed by Various. For Piano/Keyboard. Piano Collection. Softcover. 40 pages. Music Sales #AM1008216. Published by Music Sales

Edited by Amy Appleby. Music Sales America. Baroque, Classical Period and World. Softcover collection (spiral bound). With fingerings (does not include words to the songs). 240 pages. Music Sales #AM967440. Published by Music Sales

Just for You and Me, Book 1 by Dennis Alexander. For Piano. Duet or Duo; Piano Duet (1 Piano, 4 Hands). Early Intermediate; Late Elementary. Book. 16 pages. Published by Alfred Music Publishing

Jazz Piano Cocktails * Volume 1 with CD composed by Various. Arranged by Bob Kail and Craig Stevens. For jazz piano. This edition: Paperback. Collection. Jazz Standards. Book and CD. Text Language: English. 48 pages. Published by Santorella Publications

Choral SSAA choir

SKU: CF.CM9717

Composed by Mark Burrows. 8 pages. Duration 3 minutes, 7 seconds. Carl Fischer Music #CM9717. Published by Carl Fischer Music (CF.CM9717).

ISBN 9781491160961. UPC: 680160919567. Psalm 91:4-5.

The Lord will overshadow you with his pinions, and you will find refuge under his wings. His faithfulness will encompass you with a shield. Psalm 91:4-5 To feel safe and to feel cared for, these are two of the great yearnings of the human heart. What a blessing it is, especially during times of distress or uncertainty, to know that we aren't alone, that someone is reaching out to help us and even hold us. It could be a family member or a friend. It could be a still small voice whispering, It's okay. I've got you. It could even be a loving community, like a choir, assuring us that we are known, that we are loved, that we belong. The first word - scapulis - is translated as pinions. On a bird, a pinion is the outer part of the wing, including the flight feathers. The opening measures, with a one-measure phrase followed be a three-measure phrase, are meant to evoke the image of wings unfurling to welcome in. All through this section - mm. 1-20 - encourage phrasing that is never hurried but moves with intention to the last stressed syllable of each phrase, before ebbing slightly. This section is all about reassurance and comfort. In mm. 21-30 we have a new section where uncertainty grows. At this point the text - and you will find refuge under his wings - is more aspirational than definitive. Leaning into non-chord tones will help make this feeling of uncertainty more palpable. Places where this occurs: Alto I - Measure 22 the Ab in pennis, m. 26 the Bb in sperabis Soprano II - Measure 23 the A natural in pennis, m. 29 the C in sperabis Soprano I - Measure 24 the C in pennis, m. 28 the D in sperabis The apex of the piece is at m. 30 where the yearning for comfort and assurance reaches its height, finding that comfort in the arrival back at Eb major in m. 39. The phrase veritas ejus (his faithfulness), with its triplet figure should flow gently, like a musical carress. The final reassurance occurs at m. 51 as we return to the melody, and the homophonic texture, of the opening. Even as the piece gets softer and softer, encourage the singers to keep energy moving through each phrase. The structure and feel of this piece was inspired by one of the all-time great settings of yet another Psalm of assurance - Felix Mendelssohn's Lift Thine Eyes.
The Lord will overshadow you with his pinions,and you will find refuge under his wings.His faithfulness will encompass you with a shield. Psalm 91:4-5 To feel safe and to feel cared for, these are two of the great yearnings of the human heart.What a blessing it is, especially during times of distress or uncertainty, to know that we aren’t alone, that someone is reaching out to help us and even hold us. It could be a family member or a friend. It could be a still small voice whispering, “It’s okay. I’ve got you.” It could even be a loving community, like a choir, assuring us that we are known, that we are loved, that we belong.The first word – scapulis – is translated as “pinions.” On a bird, a pinion is the outer part of the wing, including the flight feathers. The opening measures, with a one-measure phrase followed be a three-measure phrase, are meant to evoke the image of wings unfurling to welcome in. All through this section – mm. 1-20 – encourage phrasing that is never hurried but moves with intention to the last stressed syllable of each phrase, before ebbing slightly. This section is all about reassurance and comfort.In mm. 21-30 we have a new section where uncertainty grows. At this point the text – and you will find refuge under his wings – is more aspirational than definitive. Leaning into non-chord tones will help make this feeling of uncertainty more palpable. Places where this occurs:Alto I – Measure 22 the Ab in pennis, m. 26 the Bb in sperabisSoprano II – Measure 23 the A natural in pennis, m. 29 the C in sperabisSoprano I – Measure 24 the C in pennis, m. 28 the D in sperabis The apex of the piece is at m. 30 where the yearning for comfort and assurance reaches its height, finding that comfort in the arrival back at Eb major in m. 39. The phrase veritas ejus (his faithfulness), with its triplet figure should flow gently, like a musical carress.The final reassurance occurs at m. 51 as we return to the melody, and the homophonic texture, of the opening. Even as the piece gets softer and softer, encourage the singers to keep energy moving through each phrase.The structure and feel of this piece was inspired by one of the all-time great settings of yet another Psalm of assurance – Felix Mendelssohn’s Lift Thine Eyes.

(Hal Leonard Student Piano Library Adult Piano Method). By Various. Educational Piano Library. Softcover with CD. 40 pages. Published by Hal Leonard

(A Primer for the 21st Century Audio Engineer). By Roger Nichols. Book; Books and DVDs; DVD; Method/Instruction; Pro Audio; Pro Audio Textbook; Reference Textbooks. 180 pages. Published by Alfred Music Publishing