I Hear America Singing

Set in a strong gospel swing this inspirational work is a powerhouse from beginning to end! “Listen children listen there's a song in the air. America is singing a song for all to hear.” Ideal for mass choirs andother festival and patriotic programs!Available separately: SATB SAB 2-Part Instrumental ePak and ShowTrax CD. Performance Time: Approx. 4:00.

The Vocal Library High Voice-Concert arrangements for voice and piano in an art song style of 35 great folksongs from the American heritage. These interesting and expressive settings are appropriate for collegiate recitals or advanced high school singers ascontest solos. The songs range from comic to sad from rowdy to inspirational and there are selections appropriate for women and men singers. The collection is primarily comprised of secular folksongs with a few sacred Americanfolk tunes. The same songs appear transposed in the editions for High Voice and Low Voice. There are three bonus duets. Includes fresh arrangements of ?Amazing Grace ? ?Black Is the Color of My True Love'sHair ? ?The Cruel War Is Raging ? ?How Can I Keep from Singing? ? ?I Gave My Love a Cherry ? ?Johnny Has Gone for a Soldier ? ?Shenandoah ? ?Soldier Soldier Will You Marry Me ? ?The Streets of Laredo ? ?Wayfaring Stranger ? ?Wondrous Love? and more.

The Singing Heart is a stately and expressive song for SATB choir with Handbell accompaniment. It is was commissioned and premiered by Americafest 2000 International Singing Festival For Men And Boys.

For pianists in their first years of study, this extensive collection of popular sheet music guarantees unlimited enjoyment. 32 of today's hottest hits are made fun to play with simplified, easy-to-read arrangements by acclaimed piano educator and arranger Carol Matz. Complete lyrics are included- and the vocal melody is incorporated into each piano part, so the arrangements sound great either as piano solos or for singing along. / Piano

The Little Black Songbook of Great Acoustic Songs boasts over 80 crowd-pleasing hits from the past and present masters of the unplugged tune. Presented in chord songbook format, this collection features Guitar chords and complete lyrics, as well as useful chord boxes for each song. Despite its size, The Little Black Songbook contains enough Great Acoustic Songs to feature something for everyone, such as classic rock from the '60s to the latest and best pop tunes hot off the charts. Whether the songs were originally intended to be acoustic tunes or their singalong choruses make them perfect for the unplugged treatment, every one of these songs is ideal for strumming andsinging. This songbook features a diverse range of songs from Simon & Garfunkel's America, Johnny Cash's Folsom Prison Blues and Elton John's Tiny Dancer , through to Elliott Smith's Ballad Of Big Nothing, James Bay's Hold Back The River and Ho Hey by The Lumineers. Drawn from the finest pop, rock and folk singer-songwriters, these tunes are ideal for a group singalong, a spot of busking or simply enjoying the pleasure of playing Great Acoustic Songs . With The Little Black Songbook , you can learn to play over 80 of the greatest Acoustic Songs by some of the biggest names in pop and rock. You'll also be able to practise strumming, singing, all while learning to play a huge number of chords using the Guitar chord boxes. Perfect for any aspiring guitarist, this acoustic sheet music songbook may be small, but it's packed with some massive songs. 1. 20/20 2. About A Girl 3. Against The Wind 4. America 5. And I love You so 6. Baby can I hold you 7. Ballad Of Big Nothing 8. Blud 9. Breaking The Law 10. Broken 11. Broken Strings 12. Budapest 13. Cornerstone 14. Cosmic Dancer 15. Courage 16. Cracklin' Rosie 17. Cucurucu 18. Dancing Barefoot 19. Everlong 20. Everything Has Changed 21. Far From Any Road 22. Folsom Prison Blues 23. Fourfiveseconds 24. Free Fallin' 25. Grandma's Hands 26. Guitar Man 27. Have You Ever Seen The Rain? 28. Heart Is A Drum 29. Ho Hey 30. Hold Back the River 31. Home 32. I Never Learn 33. I Say A Little Prayer 34. I'm Looking Through You 35. In Between Days 36. Into My Arms 37. Ivy & Gold 38. Jack And Diane 39. Jenny Don't Be Hasty 40. Lean 41. Let Her Go 42. Little Lion Man 43. Little Talks 44. Lola 45. Love Ain't for Keeping 46. Love Is Like A Butterfly 47. Matilda 48. Moonshadow 49. My Winding Wheel 50. No One's Gonna Love You 51. Oblivious 52. Oh Daddy 53. One Love (People Get Ready) 54. Our House 55. Paint The Moon 56. Please, Please, Please, Let Me Get What I Want 57. Quicksand 58. Re: Stacks 59. Red Eyes 60. Ripple 61. Running Scared 62. Ship To Wreck 63. Shiver 64. Silent Movies 65. Sisters Of Mercy 66. Solsbury Hill 67. Someone Like You 68. Stay With Me 69. Strawberry Letter 23 70. Stuck On You 71. Sugar Man 72. Take me Home, Country Roads 73. Take Me To Church 74. Tangled Up In Blue 75. Tears in heaven 76. The Drugs Don't Work 77. The First Time Ever I Saw Your Face 78. The Girl From Ipanema (Garôta De Ipanema) 79. Thinking Out Loud 80. Tiny Dancer 81. Trouble 82. Wagon Wheel 83. Walk On The Wild Side 84. Weather With You 85. Wild West End 86. With A Gun 87. You Turn Me On I'm A Radio 88. You'Re The Best Thing / Paroles&accords / Wise Publications

The Yiddish word ‘Klezmer’ has been derived from the Old Hebrew words ‘Kley’ (tool instrument) and ‘Zemer’ (song singing making music).Klezmer is the traditional music of Jews from Eastern Europe.Yiddish musicians (Klezmorim) were regularly invited to come and play at Yiddish weddings as well as several other Jewish celebrations and festive occasions. Despite its close connection with traditional Eastern European folk music Klezmer music has succeeded in preserving its distinctive Jewish character. ‘Klezmer Discovery’ is a voyage of discovery through the richly varied music of the Jewish people from Eastern Europe.The introduction consists of anumber of motives from different traditional melodies (a Mitzve Tenzel and L’cha Dodi) followed by a melody in 3/8th time (Kandel’s Hora). This dance melody originally came from Bessarabia (present-day Moldavia) and was taken along to America by Jewish musicians round 1900. Subsequently ‘Der Terk in Amerika’ a composition by famous clarinet player Naftule Brandwein can be heard. A number of fast cheerful dance melodies (bulgars) form the finale of ‘Klezmer Discovery’ (Lebedyk un Freylekh Lomir sich iberbetn and Sherele).

The Yiddish word ‘Klezmer’ has been derived from the Old Hebrew words ‘Kley’ (tool instrument) and ‘Zemer’ (song singing making music).Klezmer is the traditional music of Jews from Eastern Europe.Yiddish musicians (Klezmorim) were regularly invited to come and play at Yiddish weddings as well as several other Jewish celebrations and festive occasions. Despite its close connection with traditional Eastern European folk music Klezmer music has succeeded in preserving its distinctive Jewish character. ‘Klezmer Discovery’ is a voyage of discovery through the richly varied music of the Jewish people from Eastern Europe.The introduction consists of anumber of motives from different traditional melodies (a Mitzve Tenzel and L’cha Dodi) followed by a melody in 3/8th time (Kandel’s Hora). This dance melody originally came from Bessarabia (present-day Moldavia) and was taken along to America by Jewish musicians round 1900. Subsequently ‘Der Terk in Amerika’ a composition by famous clarinet player Naftule Brandwein can be heard. A number of fast cheerful dance melodies (bulgars) form the finale of ‘Klezmer Discovery’ (Lebedyk un Freylekh Lomir sich iberbetn and Sherele).

The Yiddish word â??Klezmerâ?? has been derived from the Old Hebrew words â??Kleyâ?? (tool instrument) and â??Zemerâ?? (song singing making music).Klezmer is the traditional music of Jews from Eastern Europe.Yiddish musicians (Klezmorim) were regularly invited to come and play at Yiddish weddings as well as several other Jewish celebrations and festive occasions. Despite its close connection with traditional Eastern European folk music Klezmer music has succeeded in preserving its distinctive Jewish character. â??Klezmer Discoveryâ?? is a voyage of discovery through the richly varied music of the Jewish people from Eastern Europe.The introduction consists of anumber of motives from different traditional melodies (a Mitzve Tenzel and Lâ??cha Dodi) followed by a melody in 3/8th time (Kandelâ??s Hora). This dance melody originally came from Bessarabia (present-day Moldavia) and was taken along to America by Jewish musicians round 1900. Subsequently â??Der Terk in Amerikaâ?? a composition by famous clarinet player Naftule Brandwein can be heard. A number of fast cheerful dance melodies (bulgars) form the finale of â??Klezmer Discoveryâ?? (Lebedyk un Freylekh Lomir sich iberbetn and Sherele).

The world loves to sing. From barbershop groups to madrigal choirs to vocal rock bands there are tens of thousands of vocal groups in America. The success of mainstream television programs such as Glee and The Sing-Off not only demonstrates the rising popularity of vocal music; it reflects how current trends inspire others to join in. In addition through various online and on-the-ground vocal music societies the ???a cappella market??? is well defined and well connected. Like singing itself a cappella is a global phenomenon.At the heart of every vocal group is the music it performs. This often means writing its own arrangements of popular or traditional songs. This book is thelong-awaited definitive work on the subject wide ranging both in its scope and in its target audience - which spans beginners music students and community groups to professional and semi-professional performers vocal/instrumental songwriters composers and producers - providing genre-specific insight on a cappella writing.The tone of the book is instructive and informative yet conversational: it is intended to stand alongside any academic publication while remaining interesting and fun. A Cappella Arranging is a good textbook - and a ???good read??? - for every vocal arranger whether amateur or professional; every vocal music classroom and any professional recording studio.

A silver jubilee celebration is always special. For a vocal group twenty-five years is a glorious achievement and one to be relished praised and admired by all who love the sound of voices singing together unamplified and unadorned. For thechoral music enthusiast whether you sing teach or just love to listen this wonderful collection of gems from chanticleers vast library shouldhave a place of pride in yours. - Simon CarringtonContents:1. Vox In Rama2. Hear My Prayer O Lord3. Credidi4. So Ben Mi Ch A Bon Tempo5. Voices Of Autumn6. Fuggi Fuggi Dolor From Tre Rime Di Tasso7. Blow Blow Thou Winter Wind8. Coventry Carol Traditional English Carol9. Two Medieval Lyrics: There Is No Rose Of Such Virtue10. Gaudete!11. Jeanie With The Light Brown Hair12. Nelly Bly13. All The Pretty Little Horses Traditional American Folk Song14. Dulaman15. An Oiche16. Lost In The Stars17. There Is A Balm In Gilead18. Keep Your Hand On The Plow

The musical appeal of the Blues, as they began to be heard in the early twentieth century, was so infectious that musicians with open minds and ears were drawn to it as soon as they heard it. And that appeal crossed the racial and ethnic divides that characterized American society. So it was, that even before African American guitarists were recorded playing fingerstyle blues guitar, their white neighbors had already begun learning the music?listening to, watching, and imitating the musicians whose music they so admired. And what these white musicians ended up expressing in their own playing and singing was not simply imitation, but their own reconfiguration of what their models did, played in accordance with their own senses of rhythm, phrasing and how to sing the music.In Hillbilly Fingerstyle Blues Guitar, author John Miller offers transcriptions, in tablature and standard notation, of twenty-eight pieces by these white fingerstyle blues players, taken from recordings made in the period 1926?1970. Some of the featured musicians in the book, like Sam McGee, Frank Hutchison, Maybelle Carter, Hobart Smith, and Roscoe Holcomb are pretty well known, but the tunes by more obscure players like Debs Mays, Lake Howard, or Lester McFarland certainly don?t suffer by comparison, and in many instances are spectacular. The pieces have been chosen for variety, too?you?ll encounter pieces played in C, E, and A in standard tuning, as well as songs in Open G, Open D tunings and an exotic offshoot of Open G tuning. Downloadable links to all of the original performances from which the transcriptions were made come with the book, so you can get the sound of the tunes in your head. The musicians in Hillbilly Fingerstyle Blues Guitar gravitated towards the Blues because the music spoke to them so strongly that they felt compelled to make it part of their own musical language. And they did just that. These performances are strong and worthwhile in their own right, but they?ll also show you how you can honor those who have inspired you by singing and playing in your own voice. And that?s an important lesson to learn. Includes access to online audio.
1. Hillbilly Fingerstyle Blues Guitar ? An Introduction
2. Learning the Songs
3. Understanding the Tablature
4. The Songs
5. 1) Knoxville Blues?Sam McGee
6. 2) Easy Rider?Sam McGee
7. 3) Railroad Blues?Sam McGee
8. 4) Sally Long?Sam McGee
9. 5) Fuzzy Rag?Riley Puckett
10. 6) Worried Blues?Frank Hutchison
11. 7) Train That Carried The Girl From Town?Frank Hutchison
12. 8) The Miner?s Blues?Frank Hutchison
13. 9) K. C. Whistle?Lester McFarland
14. 10) John Hardy Was A Desperate Little Man?The Carter Family
15. 11) Johnson City Blues?Clarence Greene
16. 12) Brown Skin Blues?Dick Justice
17. 13) Cocaine?Dick Justice
18. 14) She Lied To Me?Emry Arthur
19. 15) Everyday Dirt?David McCarn
20. 16) Take Them For A Ride?David McCarn
21. 17) Jailhouse Rag?David Miller
22. 18) Match Box Blues?Larry Hensley
23. 19) New Chattanooga Mama?Lake Howard
24. 20) Soap Box Blues?Debs Mays
25. 21) Rabbit Blues?Debs Mays
26. 22) Graveyard Blues?Hobart Smith
27. 23) Railroad Bill?Hobart Smith
28. 24) K. C. Moan?Hobart Smith
29. 25) Mississippi Heavy Water Blues?Roscoe Holcomb
30. 26) Riley And Spencer?Fields Ward
31. 27) Raggin? The Wires?E. C. Ball
32. 28) Ain?t No Grave Can Hold My Body Down?E. C. Ball
33. Appendix?Default Chord Positions
34. ABOUT THE AUTHOR
35. Afterword
36. ACKNOWLEDGEMENTS
/ Partitions variété - pop - rock / Variété internationale / Guitare tablatures / MEL BAY

As performed by Olivia Rodrigo. Drivers License is the debut single by the young American singer Olivia Rodrigo. The song, a power ballad inspired by heartbreak, received critical acclaim upon its release, with reviewers lauding Rodrigos song writing skills and singing voice. Arranger Anthony Gröger did not fail to notice this mega hit, taking the beautiful ballad and creating an intense and passionate arrangement for string quartet.