You Were There (CD only - no sheet music)

The Gallipoli Campaign took place between April 1915 and January 1916 and marked the first significant military engagement for Australia as an independent dominion. The Gallipoli Songbook commemorates this crucial event of the Great War with a collection of contemporary songs relating to the soldiers, the public at home, and the sheer poignancy of such a tragic event, all arranged for Piano, Vocal and Guitar.The diversity of songs included in this Gallipoli Songbook is testament to the spirit of optimism, consolation and humour inherent in the collective consciousness at the time of such great anxiety and fear. This is a wonderful compilation of contemporary tunes that were popular both before the War, during the various campaigns and after the War itself. Some songs included here sum up the optimistic and patriotic spirit in the years leading up to Gallipoli, such as Waltzing Matilda and God Save The King, while others like And The Band Played Waltzing Matilda, from after the event, look back on the horrors of the Anzac experience on those fateful days.Other tunes come from the wonderful British Music Hall tradition, using irony, sarcasm and humour to overcome the sadness associated with the Great War. Songs like Oh! It's A Lovely War, It's A Long Way To Tipperary and Along The Road To Gundagai were popular both at home and as marching tunes, conquering the petrifying realities of war with rousing music and song. The Gallipoli Songbook also includes wistful, sad and heartbreakingly poignant lyrics that capture the unavoidable sadness associated with the costs of total war, songs like I Wonder Who's Kissing Her Now, There's A Long, Long Trail and The Gift Of Years, all bittersweet reflections on love, loss and life's transience. Each song included here is a fantastic way to remember the victims of the Gallipoli campaign, and to understand the power that music has to allay, disguise and reflect upon fear and anxiety. The songs, arranged for Piano, Vocal and Guitar with full lyrics and chord boxes, are a fascinating insight into the period from before the War to after it, and their timelessness makes them as fun to play and sing now, as they were back then. The book also contains a smattering of brilliant images from the time, as well as an extensive foreword that explains, in detail, some of the songs and their meanings.The Gallipoli Songbook is an enjoyable, poignant and fascinating collection of tunes of, or relating to, the Great War and the Gallipoli campaign. Each song is beautiful in its own way, and would be perfect for a commemorative performance, or just an addition to your general repertoire. This songbook is perfect for a musician interested in history, or simply anyone who appreciates the golden age of emotive songs that meant more back then than we could ever imagine today. / Piano/Vocal/Guitare (PVG)

Par GRIFFIN MICHAEL. This clear and well organised text is suitable for students of arranging and composition, and for classically trained musicians wishing to further grasp the simple logic of jazz harmony. Essential understandings: - Triad structures and inversions - How to select chords - chord symbols - Simple but effective voicing formulae - The circle of 4th progressions, - Extensions to the 9ths and dominant 13ths, and altered 5ths and 9ths. Included in the 107 pages are comprehensive explanations, examples, exercises and solutions. For school students, the course can be started in year 9 and worked through to year 13. 'This book certainly delivers. Mr. Griffin does a superb job giving clear and concise steps that students should take when approaching the task of harmonizing a melody. The book is laid out in a clean, easy-to-understand format. Mr. Griffin is obviously a gifted teacher, and has developed a book that would be a great resource for any music teacher or student interested in understanding and implementing more complex theory/harmony concepts.' - Natalie Wickham, Music Matters, USA. 'Particularly good for A Level pupils composing in a pop and jazz style. The material gradually increases in difficulty and there are a lot of useful exercises to be completed by students”- Music teacher, UK. 'Excellent resource which will save teachers hours of preparatory work. Useful for a general understanding of options when harmonising in composition. An essential part of KS5 harmony work which goes beyond the common chords and progressions. Very professionally set out.”- ZigZag Education, UK./ Méthode / Tout Instrument

The tradition of the Christmas tree in Western Europe dates back to a time long before any Christianization had taken place. During the severely cold winter nights so it was believed evil spirits tried to ?kill? nature. Needle-leaved trees were the only ones which kept their green colour throughout the year and therefore became symbols of immortality. These ?living? trees said to be the work of benign spirits were brought into people?s houses to ward off evil life-threatening powers. In the 14th century people first started to decorate Christmas trees. It was a pagan custom originated by the inhabitants of Alsace. This custom was taken over by the Church in thecourse of the 15th and 16th century. At first the decoration consisted mainly of edibles such as apples and wafers but later small presents were added. Legend has it that the reformer Martin Luther was the first person to decorate a Christmas tree with candles. The flickering candle flames were meant to create the image of a starry sky in which Christ?s apparition could be recognized. The German organ-player Ernst Anschütz from Leipzig was the first person to notate the song ?O Tannenbaum? the melody being a well-known folk song. Next to ?Stille Nacht? ?O Tannenbaum? is the most famous German Christmas song now known throughout the world. In the United States of America the melody of ?O Tannenbaum? has even been used in four States (among which the State of Maryland) for their State song. In David Well?s arrangement the song is first heard as many of us know it. After this introduction however it is transformed into a solid rock version and the beat has been changed. In the second part the familiar three-four time is back but here the rhythm is different from the original. After the richly ornamented rock beat the basic theme can be heard once again and the composition is concluded in a festive manner.

The tradition of the Christmas tree in Western Europe dates back to a time long before any Christianization had taken place. During the severely cold winter nights so it was believed evil spirits tried to 'kill' nature. Needle-leaved trees were the only ones which kept their green colour throughout the year and therefore became symbols of immortality. These 'living' trees said to be the work of benign spirits were brought into people's houses to ward off evil life-threatening powers. In the 14th century people first started to decorate Christmas trees. It was a pagan custom originated by the inhabitants of Alsace. This custom was taken over by the Church inthe course of the 15th and 16th century. At first the decoration consisted mainly of edibles such as apples and wafers but later small presents were added. Legend has it that the reformer Martin Luther was the first person to decorate a Christmas tree with candles. The flickering candle flames were meant to create the image of a starry sky in which Christ's apparition could be recognized. The German organ-player Ernst Anschütz from Leipzig was the first person to notate the song 'O Tannenbaum' the melody being a well-known folk song. Next to 'Stille Nacht' 'O Tannenbaum' is the most famous German Christmas song now known throughout the world. In the United States of America the melody of 'O Tannenbaum' has even been used in four States (among which the State of Maryland) for their State song. In David Well's arrangement the song is first heard as many of us know it. After this introduction however it is transformed into a solid rock version and the beat has been changed. In the second part the familiar three-four time is back but here the rhythm is different from the original. After the richly ornamented rock beat the basic theme can be heard once again and the composition is concluded in a festive manner.

Par WHITBOURN JAMES. This glorious collection of beautiful choral music by composer James Whitbourn includes fifteen short works drawn from his oeuvre from the first few years of the 21st century. Many of his greatest compositions are included in The Choral Collection, with many of the pieces working perfectly for seasonal performances, while also reflecting the many fruitful collaborations of Whitbourn's distinguished career. All works are arranged for SATB Choir. James Whitbourn has become renowned throughout the world for his acclaimed compositions and settings of numerous texts. He has been described as truly original and an innovator of contemporary British choral music, collaborating with people like Archbishop Desmond Tutu and the Choir of King's College, Cambridge. The former appears here, as A Prayer Of Desmond Tutu, a setting of one of the Archbishop's prayers. His arrangements and compositions for the King's College Choir have been universally critically acclaimed, with A Great And Mighty Wonder, Nunc Dimittis and Were You There? representing these hugely popular collaborations. Whitbourn has also had a very close relationship with the BBC since his beginnings as a composer, working with them on three pieces within The Choral Collection. Eternal Rest and Give Us The Wings Of Faith were both composed specifically for television broadcast, the former (in its orchestral form) was played for the funeral of the Queen Mother in 2002. His longest work, for which he is most famous, is a setting of text from'the Diary of Anne Frank'. There Is No Speech Or Language comes from this work, taking its text from other sources, but that still maintain the beauty and tragedy of the wider piece. The Choral Collection of fifteen compositions by James Whitbourn is full of beautiful, haunting, uplifting and inspiring melodies for SATB Choir and Organ Accompaniment from one of the most treasured British choral composers. The brilliant choice of texts throughout is matched only by the sheer compositional skill of Whitbourn in evoking the emotions of the words in the musical form. Also included are suggestions for seasonal song use, a list of recordings, and fascinating song notes written by Whitbourn himself. The joy of choral singing is nowhere more evident than in a work by James Whitbourn, and performances of any piece within this collection is sure to be remembered for a long time to come./ Recueil / Choeur Mixte (SATB) et Orgue

Passion Music continues the fusion of jazz and choral music so successfully blended in Will Todd's Mass in Blue. The structure highlights different points in the Passion story beginning with a new setting of 'Greater love has no man' and including an evocative Stabat Mater a movement focusing on the seven last words of Christ and a setting of 'Were you there when they crucified my Lord''. While some sections are reflective Todd also makes full use of his understanding of energetic jazz and gospel. The vocal soloist is given plenty of expressive freedom singing both with the choir and independently to achieve the characteristic jazz-soulstyle. The seven-piece jazz accompaniment which is presented in the vocal score as a piano reduction for rehearsal only completes the ensemble.  The full score and set of parts for the jazz accompaniment are available on sale and hire. A complete backing track and individual rehearsal tracks for the vocal parts are also available to download.

Par BEATLES THE. A fantastic and stupendous volume for fans of popular music and the Beatles! This comprehensive volume contains all and every one of the 194 songs that were written and sung by the Beatles during their prolific and productive career. Specially arranged in the original keys by Rikky Rooksby from the actual recordings, each song includes chord symbols, guitar chord boxes and complete lyrics and the band's full discography is also featured. / Niveau : Assez Facile / Rép International / Recueil / Chant et Guitare

Par . The Real Books are the best-selling jazz books of all time. Since the 1970s, musicians have trusted these volumes to get them through every gig, night after night. The problem is that the books were illegally produced and distributed, without any regard to copyright law, or royalties paid to the composers who created these musical masterpieces. Hal Leonard is very proud to present the first legitimate and legal editions of these books ever produced. You won't even notice the difference, other than all the notorious errors being fixed: the covers and typeface look the same, the song list is nearly identical, and the price for our edition is even cheaper than the original! Every conscientious musician will appreciate that these books are now produced accurately and ethically, benefitting the songwriters that we owe for some of the greatest tunes of all time! Includes 400 songs / Date parution : 2024-01-18/ Recueil / Instruments en Mib

Letter from Sado is an exciting new piece for young band based on a Japanese haiku of the same name. Sado refers to Sado Island in Japan in which various artists religious and military leaders were sent in exile many years ago. The island has historically had a strong community of taiko drummers and as such the piece incorporates optional homemade taiko drums. Blackshaw writes: To capture the idea of interpretation and the concept of reading between the lines the students are invited to become decision makers about particular sections in the music. For example the opening and closing sections of the piece use the same material which is a selection of repeated melodic figures.The students themselves decide how to play these figures as individuals in small teams and then as a whole band. Their decisions include ideas regarding tempo (how fast') dynamics (how loud') and articulation (smooth short or hard'). To inspire them we use the haiku poem; i.e. the opening section invites the students to play the material as if it were a 'stormy wild sea' and the closing section invites the students to play the same melodic figures but this time draw their inspiration from 'Heaven's River ' or as we know it the Milky Way. In-between there is an elaborate heavily textured section that becomes increasingly powerful. The music doesn't rest harmonically until the whole band plays in unison. These multiple layers of sound represent the many thoughts and ideas that would have surrounded those individuals sent to Sado Island in exile the final unison is representative of their own breakthrough experience sending them on a pathway to inner peace and acceptance. Embrace your players' creativity offer them your trust and see how far Letter from Sado can take your band!

For Soprano solo and SATB chorus unaccompanied. Includes a Keyboard/Piano line for rehearsal purposes only. 'The Spirituals represent an extraordinary religious social and musical legacy. They are among the most enduring examples of all vernacular art and their appeal remains undiminished. These poignant expressions of joy and sorrow were crafted with the utmost simplicity and a noticeable absence of sentimentality.' - Richard Allain

Minor: Bordun. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition 'musik für Kinder', english adaption with additional material by Doreen Hall and Arnold Walter./ Recueil / Voix, Flûte à Bec et Percussion