For bass guitar and voice. Format: bass tablature songbook. With bass tablature, standard notation, vocal melody, lyrics, chord names and bass notation legend. Rock and pop rock. Series: Hal Leonard Bass Recorded Versions. 1023 pages. 8.5x11 inches. Published by Hal Leonard.

The Praise and Worship Fake Book (B Flat Edition). By Various. For Bb Instruments. Fake Book. Softcover. 432 pages. Published by Hal Leonard

Over 100 Songs in the Key of C. By Various. Fake Book (Includes melody line and chords). Softcover. 184 pages. Published by Hal Leonard.

Over 400 Songs. Fake Book (Includes melody line and chords). Size 9x12 inches. 583 pages. Published by Hal Leonard.

Songbook for voice, piano and guitar (chords only). 224 pages. Published by Alfred Publishing.

Lyrics and chords (ukulele)

SKU: M7.DUX-342

200 Lieder and Songs. Composed by Andreas Lutz and Bernhard Bitzel. This edition: Ring/Spiral binding. Sheet music. Songbook. Edition Dux Verlag #DUX 342. Published by Edition Dux Verlag (M7.DUX-342).

ISBN 9783868494006.

The Ukulele-Ding 2 contains 200 songs from Pop and Rock for campfires, outings and parties. In order to be able to sing the songs optimally and accompany them with the ukulele, suitable keys and chords have been chosen. The chords are given directly above the lyrics, so you can sing and play directly from the sheet. A fingering chart for all ukuleles in the tuning g - c - e - a is included. A must for every campfire ukulele player and all those who want to become one. Bound as a practical spiral book - like every edition from the cult songbook series Das Ding. With songs from ABBA - AC/DC - Aerosmith - BAP - Billy Joel - Bob Dylan - Bob Marley - Boney M. - Bruce Springsteen - Cat Stevens - Coldplay - Die Toten Hosen - Dire Straits - Elvis Presley - George Ezra - Howard Carpendale - John Denver - Kansas - Lady Gaga - Max Giesinger - Nirvana - Peter Maffay - Phil Collins - Pink Floyd - Queen - Reinhard Mey - Robbie Williams - Rod Stewart - Simon and Garfunkel - Supertramp - The Beach Boys - The Beatles - U2 und vielen weiteren.

Choral (SSATB)

SKU: HL.1197753

Gentry Publications. Octavo. 12 pages. Duration 285 seconds. Gentry Publications #JG2662. Published by Gentry Publications (HL.1197753).

UPC: 196288134831. 6.75x10.5x0.029 inches.

“Deat h, thou art welcome to my arms attended by a thousand charms...” a text that dates back as far as 1818 speaks to the human desire for a peaceful end to life. This new setting by Richard Burchard provides your tenor-bass choir with an exciting and contemporary approach to this rich traditional hymn melody. In typical Burchard fashion, he has beautifully crafted phrases that combine the hymn text, touches of Latin, and a folk-style solo designed to draw attention to the rhythm, melody, and message of the hymn. Looking for that perfect piece with a special soulful appeal? Look no further; accompanied by cello and percussion, here's the ideal candidate, sure to become a choir and audience favorite.

For C Instruments. Composed by Various. Fake Book. Softcover. 456 pages. Published by Hal Leonard (HL.160838).

Choral SA choir, piano

SKU: CF.CM9795

Composed by Mark Burrows. Duration 3:45. Carl Fischer Music #CM9795. Published by Carl Fischer Music (CF.CM9795).

ISBN 9781491164662. UPC: 680160923571. Key: A major. English. Coty Raven Morris. Original.

The text for When I Grow Up first came to me while I was teaching in Houston, Texas. I noticed that my students were becoming more and more concerned about what steps they had to take as students to secure a future for themselves decades ahead. Young people are finding themselves having to make lifelong decisions at a time where they are still in a season of exploration and wonderment. I then asked myself, What happened to discovery through play and imagination?With the help of one of my former and forever choir students, Monica Juarez, we took my original text and created illustrations of a young Coty in New Orleans, Louisiana imagining, in real time, all of the things that she could be! It was important to me that the images were of real things that I had seen growing up every day.That we are limitless and that it's only in the pressures of growing up that we can lose our creativity, I hope this text allows both singers and conductor to let their imagination take the lead and shape the journey ahead!Sing with JOY!—Coty Occasionally, when I get to visit with young people, I’ll ask, Has anyone ever asked you want to be when you grow up? All the hands go up. Children say yes, and then proceed to tell me what they want to be when they grow up. So, then I ask a follow-up question, Why on earth do you have to wait until you’re a grown-up to be somebody?!When I first read through Coty’s text, I was so moved by how clear and beautiful that message of empowerment shines through:I want to live, and that begins now. I want to be happy. And I refuse to wait until I grow up.I also was struck by her imaginative use of the four classical elements—air, water, fire, and earth—to bring us on a journey of discovery and wonder.I’ve tried my best to, not so much set Coty’s words to a tune, as to go along with her on the journey and see what music would emerge. And I’m so happy you’ve joined us on the journey, too.Welcome!—Mark.

Choral SAB Choir, Piano

SKU: CF.CM9794

Composed by Mark Burrows. Duration 3:45. Carl Fischer Music #CM9794. Published by Carl Fischer Music (CF.CM9794).

ISBN 9781491164655. UPC: 680160923564. Key: A major. English. Coty Raven Morris. Original.

The text for When I Grow Up first came to me while I was teaching in Houston, Texas. I noticed that my students were becoming more and more concerned about what steps they had to take as students to secure a future for themselves decades ahead. Young people are finding themselves having to make lifelong decisions at a time where they are still in a season of exploration and wonderment. I then asked myself, What happened to discovery through play and imagination?With the help of one of my former and forever choir students, Monica Juarez, we took my original text and created illustrations of a young Coty in New Orleans, Louisiana imagining, in real time, all of the things that she could be! It was important to me that the images were of real things that I had seen growing up every day.That we are limitless and that it's only in the pressures of growing up that we can lose our creativity, I hope this text allows both singers and conductor to let their imagination take the lead and shape the journey ahead!Sing with JOY!—CotyOccasiona lly, when I get to visit with young people, I’ll ask, Has anyone ever asked you want to be when you grow up? All the hands go up. Children say yes, and then proceed to tell me what they want to be when they grow up. So, then I ask a follow-up question, Why on earth do you have to wait until you’re a grown-up to be somebody?!When I first read through Coty’s text, I was so moved by how clear and beautiful that message of empowerment shines through:I want to live, and that begins now. I want to be happy. And I refuse to wait until I grow up. I also was struck by her imaginative use of the four classical elements—air, water, fire, and earth—to bring us on a journey of discovery and wonder.I’ve tried my best to, not so much set Coty’s words to a tune, as to go along with her on the journey and see what music would emerge. And I’m so happy you’ve joined us on the journey, too.Welcome!—Mark.

Tenor Sax

SKU: HL.244108

For Tenor Sax. Composed by Various. Instrumental Folio. Children, Disney, Movies. Softcover. 112 pages. Published by Hal Leonard (HL.244108).

ISBN 9781540002365. UPC: 888680707187. 9.0x12.0x0.326 inches.

If you play an instrument and you're a Disney fan, you'll love this collection of 101 favorites to learn and play! Songs include: Beauty and the Beast • Can You Feel the Love Tonight • A Dream Is a Wish Your Heart Makes • Evermore • Go the Distance • He's a Pirate • I See the Light • Kiss the Girl • Let It Go • Mickey Mouse March • Reflection • A Spoonful of Sugar • True Love's Kiss • We're All in This Together • When You Wish upon a Star • A Whole New World • You've Got a Friend in Me • Zip-A-Dee-Doo-Dah • and more.

Horn

SKU: HL.244112

For Horn. Composed by Various. Instrumental Folio. Children, Disney, Movies. Softcover. 112 pages. Published by Hal Leonard (HL.244112).

ISBN 9781540002389. UPC: 888680707200. 9.0x12.0x0.286 inches.

If you play an instrument and you're a Disney fan, you'll love this collection of 101 favorites to learn and play! Songs include: Beauty and the Beast • Can You Feel the Love Tonight • A Dream Is a Wish Your Heart Makes • Evermore • Go the Distance • He's a Pirate • I See the Light • Kiss the Girl • Let It Go • Mickey Mouse March • Reflection • A Spoonful of Sugar • True Love's Kiss • We're All in This Together • When You Wish upon a Star • A Whole New World • You've Got a Friend in Me • Zip-A-Dee-Doo-Dah • and more.

Clarinet

SKU: HL.244106

For Clarinet. Composed by Various. Instrumental Folio. Children, Disney, Movies. Softcover. 112 pages. Published by Hal Leonard (HL.244106).

ISBN 9781540002341. UPC: 888680707163. 9.0x12.0x0.278 inches.

If you play an instrument and you're a Disney fan, you'll love this collection of 101 favorites to learn and play! Songs include: Beauty and the Beast • Can You Feel the Love Tonight • A Dream Is a Wish Your Heart Makes • Evermore • Go the Distance • He's a Pirate • I See the Light • Kiss the Girl • Let It Go • Mickey Mouse March • Reflection • A Spoonful of Sugar • True Love's Kiss • We're All in This Together • When You Wish upon a Star • A Whole New World • You've Got a Friend in Me • Zip-A-Dee-Doo-Dah • and more.

Arranged by Dan Coates. For voice and piano. Format: easy piano/vocal/chords songbook. With easy piano notation, lyrics and chord names. Pop. 72 pages. 9x12 inches. Published by Alfred Publishing.

For Guitar. Guitar Riffs. Softcover. Guitar tablature. 160 pages. Published by Hal Leonard

Arranged by Dan Coates. Songbook for voice and piano. 64 pages. Published by Alfred Publishing.

Piano/Vocal

SKU: HL.287171

Piano/Vocal Selections. Composed by Bryan Adams and Jim Vallance. Vocal Selections. Broadway. Softcover. 136 pages. Published by Hal Leonard (HL.287171).

ISBN 9781540042095. UPC: 888680902414. 9.0x12.0x0.362 inches. Words & Music by Bryan Adams & Jim Vallance.

16 selections in standard piano/vocal format with the melody in the piano part from this 2018 Broadway musical based on the story of the 1990 film of the same name, composed by Bryan Adams and Jim Vallance. Includes: Anywhere but Here * Don't Forget to Dance * Freedom * I Can't Go Back * Long Way Home * Luckiest Girl in the World * Never Give up on a Dream * On a Night like Tonight * Rodeo Drive * Something About Her * This Is My Life * Together Forever * Welcome to Hollywood * Welcome to Our World (More Champagne) * You and I * You're Beautiful.

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (Study Score)

SKU: HL.49018099

Boy Soprano, Soprano, Tenor, Flugelhorn, Mixed Chorus, and Chamber Orchestra Study Score. Composed by Harald Weiss. This edition: Paperback/Soft Cover. Sheet music. Study Score. Classical. Softcover. Composed 2008/2009. 188 pages. Duration 100'. Schott Music #ED20619. Published by Schott Music (HL.49018099).

ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.

On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.

(253 of the finest praise and worship songs). Composed by Various. For voice, piano and guitar (chords only). Sacred Folio. Gospel and Worship. Difficulty: medium. Songbook (spiral bound). Vocal melody, piano accompaniment, lyrics and chord names. 420 pages. Hal Leonard #080689006395. Published by Hal Leonard

Tenor & String Quartet

SKU: PE.EP72822

Composed by Jonathan Dove. Voice(s) & Various Instruments. Edition Peters. Living Composer. Score and Part(s). 164 pages. Duration 00:30:00. Edition Peters #98-EP72822. Published by Edition Peters (PE.EP72822).

ISBN 9790577011769. 232 x 303mm inches. English.

I have only visited Damascus once, twenty years ago, on the way to Palmyra.  I had a purpose (I was writing music for a play about Palmyra’s Queen Zenobia) but essentially I was a tourist.  Like any visitor, I was thrilled to step out of the noisy modern city into the magical ancient world of the walled Old City, its vibrant souk leading to the magnificent mosque, and a labyrinth of winding, narrow streets filled with the smell of unleavened bread.

In Palmyra, I was met with extraordinary kindness everywhere.  On one occasion, a little Bedouin boy noticed that I was risking sunstroke wandering bare-headed among the spectacular ruins: he showed me how to tie a turban, then took me to have tea with his family in their tent.

Since then, I have watched helplessly as these places of wonder have been devastated and their inhabitants scattered and killed.  When the Sacconi Quartet suggested that I might choose a Syrian poet for our collaboration, I welcomed the idea.

I searched for a long time to find a contemporary poet whose work might gain from any music I could imagine.  I felt it was important to find first-hand accounts of the Syrian experience – but, of course, I was always reading them in translation.  In an anthology called Syria Speaks, I was astonished to read something that looked like prose, but was full of poetry.  It was Anne-Marie McManus’s fine translation of Ali Safar’s A Black Cloud in a Leaden White Sky – an eloquent, thoughtful, contained yet vivid account of life in a war-torn country, all the more moving for its restraint.

In setting these words, I have not attempted to imitate Syrian music.  However, there is what might be called a linguistic accommodation in my choice of scale, or mode.  Several movements are in a mode that I first discovered while writing a cantata commemorating the First World War: it has a tuning that I associate with war, its violence and desolation.  This eight-note mode is similar to scales found in Syrian music.  I did not choose it in the abstract: it emerged from the harmonies I was exploring in the earlier work, and emerged again as I was looking for the right musical colours to set Ali Safar’s words.  In this work, its Arabic aspect is more prominent. - Jonathan Dove

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