Each of us has a story each of us has a song. Each of us has a melody within. This motivating and inspiring text of how coming together through music makes us all better is full of syncopated energy and accompanied by a pulsing piano beat and simple percussion. Percussion parts are available for download on the Closer Look page. Each of us has a story each of us has a song. Each of us has a melody within. This motivating and inspiring text of how coming together through music makes us all better is full of syncopated energy and accompanied by a pulsing piano beat and simple percussion. Percussion parts are available for download on the Closer Look page.

Almost too clever for words Larry Shackley decided it was time to make fun of all those who use Bach's classics as a foundation for a new song. So he did it too but in the most honoring and humorous way. Larry is anestablished composer and arranger and his craftsmanship comes through with this amusing piece.

H2O! is factual and amusing musical all about water and the hydrologic cycle. Suitable for children 5-9 years. Duration 35 minutes. The (Teacher's Book) is complete with play lyrics music and matching CD of all the music inthe show. Backing tracks are included for performance and rehearsals. Edited by Alison Hedger. You will require a license to perform this work at your school/youth theatre; please click here for more information and our application form.

Dramma per musica in three acts-La Calisto one of Cavalli?s most frequently performed operas today was premiered in Venice in 1651 but didn?t achieve its first real breakthrough until the 20th century.The foundation for this success may be the rediscovery of the dramaturgic and musically masterful construction: Faustini interwove several mythological models; the love between the Nymph Kallisto and Jupiter and between Diana and the shepherd Endymion as well as Kallisto?s transformation into a bear and his emanation as a well-known constellation. Numerous amusing minor roles are included and Cavalli succeeded in combining the various storylines and characters to produce an effective musically cohesive whole.This first volume of the new Bärenreiter series of the works of Cavalli presents a critical edition of the musical text and libretto complete with an English translation and provides a comprehensive insight into the development of the genre in Italian opera life of the 17th century.Performance material available for hire.

Peter Lawson's Tunes From The Trenches - Songs From World War One for Choir and Orchestra or Concert Band or Choir and Piano.A non-stop medley of tunes from World War One from recruiting through to the Last Post. This arrangement can be performed by a Choir with either an Orchestra band or piano accompaniment. There are different choral versions available for Mixed Voice Choir - both SATB (GM131) and for those with a shortage of male voices SA+Men (GM134) - for Upper Voice Choir (SSA - GM132) and for Male Voice Choir (TTBB - GM133). The orchestra score and parts (GMCP020) can be used either on its own or to accompany a choir.Therecruiting song 'Your King and Country Want You' starts us off followed by 'Goodbye Dolly Gray' as the soldiers leave for war. 'Belgium put the Kibosh on the Kaiser' is followed by some proper trench songs - various lyrics were improvised by the soldiers!! - 'Three German Officers crossed the Rhine' and 'They were only playing Leap-Frog'. 'The Bells of Hell go Ting-a-ling-a-ling' leads to strains of 'Stille Nacht' recalling the Christmas truce. 'When this Lousy War is Over' and 'There's no place like Home' are balanced by 'Land of Hope and Glory' before the Americans arrive with 'The Caissons go Rolling Along' and 'Over There'. 'It's a Long Way to Tipperary' brings us towards a rousing finish save for an optional 'Last Post-lude' to end reflectively.

Mack Wilberg's Christmas Is Coming for SATB and Piano 4-hands or Orchestra. This jovial and spirited carol is sure to bring a smile to many faces at Christmas-time. The traditional text is augmented with additional lyrics by David Warner and Wilberg puts the melody through a wealth of festive musical treatments. Voices range from unison up to six parts with some verses in canon and the music goes through five different keys keeping everyone on their toes! The Piano-duet part not only accompanies the choir but adds several layers of interest and colour with a bass drone glittering flourishes in the upperregister and passages evoking sleigh bells. Perfect for use as a closing piece or encore in a Christmas concert.

Strong accented chords in the piano mark the opening gesture in this anthem of dedication and service calling the faithful to a joyful affirmation of faith. A melody that sings itself appears in unison building intensity with a series of commitments to praise. With the regal calls of Praise the Lord the refrain breaks into harmony with thrilling results. The piano is both vocally supportive and rhythmically compelling. An optional a cappella section is a delightful surprise!

Music Minus One Soprano-Prima donna Zvetelina Maldjanska sings great Verdi soprano arias and you have the same orchestra as backup - polish those chords and wow them! Includes a printed vocal score on high-quality ivory paper with informative liner notes and a CD G graphics-enabled compact disc with complete versions (with soloist) followed by stereo orchestral accompaniments to each piece minus the soloist. Performed by Zvetelina Maldjanska soprano Accompaniment: Plovdiv Philharmonic Orchestra Conductor: Nayden Todorov

The absolute classic of Christmas carols O Little Town Of Bethlehem with music by Thomas Adams is arranged here for SATB (Soprano/Alto/Tenor/Bass) Choir. With divine words by Bishop Phillips Brooks and uplifting music by the noted British organist Thomas Adams  this is the most traditional version of this favourite carol and is sure to be the highlight of any Christmas concert or other performance.  When your SATB Choir sings this carol the seasonal spirit will well and truly have arrived with its subtly inspirational melody and true Christmas message it's a staple of carolclassics and is a must-own for all choirs during the festive period.

A song of scope and celebration, this piece sings of the Church and the Lord she serves. The eternal attributes of the Triune God intersect with the worshipper's grateful praise in an elegant text with approachable and deeply expressive music. A convincing accompaniment offers an orchestral quality to the sonic success of the composition. Masterfully melodic but filled with interesting harmonic color, this anthem will help you commemorate your church's legacy.

Kantate Zum Epiphaniasfest. Par BACH JOHANN SEBASTIAN. This six-movement cantata uses the hymn of the same name by Ahasverus Fritsch, first recorded in 1698 in the Darmstädter Liederbuch. This places it amongst those chorale cantatas which use a hymn from the repertoire associated with Pietism. As was customary, the hymn text is retained in the outer movements, whereas the text for the inner movements - two secco recitatives and a tenor and a bass aria - are concerned with the contrast between the hostile world and the certainty of Jesus- the links between the cantata text and the Feast of the Epiphany are correspondingly tenuous. In the first movement the soprano sings the hymn melody complete, accompanied by mainly homophonic vocal parts, whilst the instrumental writing is largely influenced by the melody of the first line of the hymn. Remarkable is the tenor aria, with its contrasting central section and its chromatic twists and turns, in which Bach once again proves himself to be a master of harmony. The demands on the chorus are fairly modest, whereas the instrumentalists are challenged in the first movement and in both the arias./ Répertoire / Choeur Mixte (SATB) et Orchestre

A Rollicking Western Adventure - Teacher-Come on dudes and dudettes! Join us for a rollicking western adventure - ride the open range have a rough \'n\' tumble hootenanny share a tale and a song or two and sleep under the stars. This 35-minute musical adventure features seven songs with rhyming narration and 39 speaking parts adaptable to various cast sizes. The Teacher Edition includes piano/vocal arrangements with choreography script helpful production guide and digital access to PDFs of singer songsheets lyric sheets and narrations. To perform with recordings there are 2 options. For cost-saving value the Performance Kit/Audio Access includes the Teacher Edition w/singer PDFs and digital access toperformance/accompaniment audio recordings. The dialog is not recorded. Songs include: Yee-Haw Home on the Range in Montana Giddy-Up The Cowboy Code Billy the Bad Under the Stars Until We Meet Again. Approx. 35 minutes. Suggested for grades 1-5 (with opportunities for all grade levels).

Opera in three acts. Par HAENDEL GEORG FRIEDRICH. ; Almira, Handel's first opera, was well received when premiered in 1705 at the Theater am Gänsemarkt in Hamburg. The director was Reinhard Keiser, who, remarkably, had himself already set Friedrich Christian Feustking's text to music. The role of Fernando was sung by Johann Mattheson. The translation used by Handel leaves several Italian arias in their original language, resulting in a delightful mixture of German and Italian. The opera which, after sundry entangled romances, ends in the wedding of three couples, is characterised by exuberant scenes: the procession at Almira's crowning ceremony, a duel, a prison scene and a masked-ball involving the three continents Europe, Africa and Asia. The vocal score to ; Almira by George Frideric Handel brings about a small sensation: Whilst conducting a reenactment of this work in 1732, Georg Philipp Telemann removed the Aria no. 28 ; Ingrato, spietato from his conducting score. Since then this aria has been deemed lost. Due to necessity only the edited vocal text devoid of any music was presented in the 1994 volume of the ; Halle Handel Edition. Thanks to a recently discovered contemporary manuscript copy from the beginning of the 18th century which was found in the music library of the Mariengymnasium in Jever, this aria has now been made available to performers for the first time in this new vocal score edition. Previous to this the corresponding pages could only be seen as a facsimile in an article of the ; Göttinger Händel -Beiträge. Now the aria can be performed again. Furthermore, with the help of this new source, missing measures in the basso continuo which had initially been completed by the editor of the ; Halle Handel Edition volume, could be reconstructed from the basso continuo part of the Bellante aria ; Ich brenne zwar (no. 71). - Urtext edition based on the ; Halle Handel Edition - Original German and Italian text with a German translation of the Italian arias/ Répertoire / Solistes, SATB et Orchestre