Format : Score
SKU: HL.281046
ISBN 9781540033253. UPC: 888680785352. 9.0x12.0x0.603 inches.
This songbook provides a treasury of 100 classics by our most beloved vocalists in our trademark E-Z Play(r) Today notation. Includes: All the Way (Etta James) * Count Your Blessings Instead of Sheep (Rosemary Clooney) * Everybody Loves Somebody (Dean Martin) * Fever (Peggy Lee) * Heart and Soul (Mel Torme) * How High the Moon (Ella Fitzgerald) * I Left My Heart in San Francisco (Tony Bennett) * People (Barbra Streisand) * Route 66 (Nat King Cole) * Sentimental Journey (Doris Day) * Swinging on a Star (Bing Crosby) * That's Entertainment (Judy Garland) * What a Wonderful World (Louis Armstrong) * Young at Heart (Frank Sinatra) * and many more.
About Hal Leonard E-Z Play Today
For organs, pianos, and electronic keyboards. E-Z Play Today is the shortest distance between beginning music and playing fun. Now there are more than 300 reasons why you should play E-Z Play Today. * World's largest series of music folios * Full-size books - large 9 x 12 format features easy-to-read, easy-to-play music * Accurate arrangements... simple enough for the beginner, but accurate chords and melody lines are maintained * Eye-catching, full-color covers * Lyrics... most arrangements include words and music * Most up-to-date registrations - books in the series contain a general registration guide, as well as individual song rhythm suggestions * Guitar Chord Chart - all songs in the series can also be played on guitar.
SKU: HL.14065906
SKU: PR.466000470
UPC: 680160099405. 11 x 17 inches.
This is the second incarnation of a work I first composed in 1994 for symphonic wind ensemble. The earlier version was intended to be the summation of three-part suite, each part being named for a different national park in the Western United States. This orchestral version, commissioned in 1999 by the Utah Symphony and dedicated to the memory of Aaron Copland, is more than a re-scoring of the earlier piece; it is a re-thinking of all its elements. Zion is a place with unrivaled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both his Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph.
SKU: GI.G-CD-924
THIS IS THE SECOND SET OF RECORDINGS FROM LEAD ME, GUIDE ME—SECOND EDITION It includes the CD set titled Lead Me, Guide Me—Second Edtion: HYMNS. This collection of recordings is designed to enhance the exploration of Lead Me, Guide Me—Second Edition and to be of help to parishes in the learning of new music. There are three distinct CD sets. The first, Rites, Psalms, and Service Music, contains music for the Liturgy of the Hours and rites of the church along with recordings of new and revised Mass settings. The second, Hymns, includes over 160 selections of newly composed music, recently authored texts, and lesser-known hymns and songs that are appear- ing for the first time in Lead Me, Guide Me—Second Edition. Lastly, the third CD set, Lectionary Psalms, recorded by M. Roger Holland II and a group of professional singers from New York has 48 psalms from the final section of the hymnal. These psalms use texts from The Revised Grail Psalms set by some of today’s finest African American composers. The recorded tracks in these three CD sets follow the order of the hymnal and are numbered using the actual hymnal numbers. The recordings are a compilation of tracks recorded specifically for this project and of existing tracks drawn from previous projects that are, nonetheless, fully compatible with this one. In all, we have recorded approximately 300 of the items in Lead Me, Guide Me—Second Edition.
SKU: PR.16500092L
UPC: 680160039531. 11 x 17 inches.
Zion is the third and final installment of a series of works for Wind Ensemble inspired by national parks in the western United States, collectively called Three Places in the West. As in the other two works (The Yellowstone Fires and Arches), it is my intention to convey more an impression of the feelings I've had in Zion National Park in Utah than an attempt at pictorial description. Zion is a place with unrivalled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both is Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph and unbreakable spirit. Zion was commissioned in 1994 by the wind ensembles of the University of Texas at Arlington, the University of Texas at Austin, and the University of Oklahoma. It is dedicated to the memory of Aaron Copland.
SKU: GI.G-CD-923
THIS IS THE FIRST SET OF RECORDINGS FROM LEAD ME, GUIDE ME—SECOND EDITION It includes the CD set titled Lead Me, Guide Me—Second Edtion: RITES, PSALMS and SERVICE MUSIC. This collection of recordings is designed to enhance the exploration of Lead Me, Guide Me—Second Edition and to be of help to parishes in the learning of new music. There are three distinct CD sets. The first, Rites, Psalms, and Service Music, contains music for the Liturgy of the Hours and rites of the church along with recordings of new and revised Mass settings. The second, Hymns, includes over 160 selections of newly composed music, recently authored texts, and lesser-known hymns and songs that are appear- ing for the first time in Lead Me, Guide Me—Second Edition. Lastly, the third CD set, Lectionary Psalms, recorded by M. Roger Holland II and a group of professional singers from New York has 48 psalms from the final section of the hymnal. These psalms use texts from The Revised Grail Psalms set by some of today’s finest African American composers. The recorded tracks in these three CD sets follow the order of the hymnal and are numbered using the actual hymnal numbers. The recordings are a compilation of tracks recorded specifically for this project and of existing tracks drawn from previous projects that are, nonetheless, fully compatible with this one. In all, we have recorded approximately 300 of the items in Lead Me, Guide Me—Second Edition.
SKU: GI.G-CD-926
THIS IS THE COMPLETE SET OF RECORDINGS FROM LEAD ME, GUIDE ME—SECOND EDITION It includes one each of the three CD sets: Rites, Psalms, and Service Music, Hymns, and Lectionary Psalms. This collection of recordings is designed to enhance the exploration of Lead Me, Guide Me—Second Edition and to be of help to parishes in the learning of new music. There are three distinct CD sets. The first, Rites, Psalms, and Service Music, contains music for the Liturgy of the Hours and rites of the church along with recordings of new and revised Mass settings. The second, Hymns, includes over 160 selections of newly composed music, recently authored texts, and lesser-known hymns and songs that are appear- ing for the first time in Lead Me, Guide Me—Second Edition. Lastly, the third CD set, Lectionary Psalms, recorded by M. Roger Holland II and a group of professional singers from New York has 48 psalms from the final section of the hymnal. These psalms use texts from The Revised Grail Psalms set by some of today’s finest African American composers. The recorded tracks in these three CD sets follow the order of the hymnal and are numbered using the actual hymnal numbers. The recordings are a compilation of tracks recorded specifically for this project and of existing tracks drawn from previous projects that are, nonetheless, fully compatible with this one. In all, we have recorded approximately 300 of the items in Lead Me, Guide Me—Second Edition.
SKU: GI.G-CD-925
UPC: 785147092520.
THIS IS THE THIRD SET OF RECORDINGS FROM LEAD ME, GUIDE ME—SECOND EDITION It includes the CD set titled Lectionary Psalms. This collection of recordings is designed to enhance the exploration of Lead Me, Guide Me—Second Edition and to be of help to parishes in the learning of new music. There are three distinct CD sets. The first, Rites, Psalms, and Service Music, contains music for the Liturgy of the Hours and rites of the church along with recordings of new and revised Mass settings. The second, Hymns, includes over 160 selections of newly composed music, recently authored texts, and lesser-known hymns and songs that are appear- ing for the first time in Lead Me, Guide Me—Second Edition. Lastly, the third CD set, Lectionary Psalms, recorded by M. Roger Holland II and a group of professional singers from New York has 48 psalms from the final section of the hymnal. These psalms use texts from The Revised Grail Psalms set by some of today’s finest African American composers. The recorded tracks in these three CD sets follow the order of the hymnal and are numbered using the actual hymnal numbers. The recordings are a compilation of tracks recorded specifically for this project and of existing tracks drawn from previous projects that are, nonetheless, fully compatible with this one. In all, we have recorded approximately 300 of the items in Lead Me, Guide Me—Second Edition.
SKU: KN.SB2306
12 x 9 inches.
The Latin American String Collection is an authentic resource for the modern string room. As a Latin American Composer, Mark Contreras Gómez brings a wealth of experience to this collection – making it a trusted choice for your students. Explore Latin American styles and learn about their unique histories with information included by the composer on each and every solo. The accompanying tracks have been carefully curated and performed by the composer, and include click count-offs, performance versions, and performance demos for use while practicing each distinctive style. The book itself, is laid out with a strong focus on pedagogic sequencing, introducing new styles and dances as the musician progresses. The book is divided into sections: Open Strings, First Finger, Second Finger, Third Finger, Fourth Finger and Chromatic Changes. Perfect for fun, performance, or festival adjudication – this new collection is a must-have for your string solo library.
SKU: KN.SB2305
SKU: KN.SB2307
SKU: HL.44013099
UPC: 888680745387.
Songs from Across the Water was commissioned by Pennsylvania Symphonic Winds - Phil Evans, Founder and Director. Phil Evans hails from the UK and served for 25 years in the Band of HM Royal Marines. Now resident in the USA he founded Pennsylvania Symphonic Windsin 2008, giving them the tag line An American Band with a British Accent , as he wanted to combine the best of both countries bandtraditions. With this in mind, composer Philip Sparke decided to create a suite of British folk songs, scored with an American influence to fulfil the philosophy of the band s tag line. The three movements, which are played without a break, are based on the following folk songs, which come from all corners of the British Isles: The Three Ravens & The Cruiskeen Lawn, The Lark in the ClearAir and The Piper o Dundee & Men of Harlech.
SKU: HL.44013098
Songs from Across the Water was commissioned by Pennsylvania Symphonic Winds - Phil Evans, Founder and Director. Phil Evans hails from the UK and served for 25 years in the Band of HM Royal Marines. Now resident in the USA he founded Pennsylvania Symphonic Windsin 2008, giving them the tag line An American Band with a British Accent, as he wanted to combine the best of both countries bandtraditions. With this in mind, composer Philip Sparke decided to create a suite of British folk songs, scored with an American influence to fulfil the philosophy of the bands tag line. The three movements, which are played without a break, are based on the following folk songs, which come from all corners of the British Isles: The Three Ravens & The Cruiskeen Lawn, The Lark in the ClearAir and The Piper o Dundee & Men of Harlech.