One (from A Chorus Line)

This is every performer's anthem! From the Broadway classic A Chorus Line this a cappella setting will leave your audience spellbound! Available for SATB SSAA TTBB a cappella. Performance Time: Approx. 3:40.

A superb set of selections from one of the longest running Broadway shows in history A Chorus Line. The music for this 1975 hit show was composed by Marvin Hamlisch and these faithful full orchestra arrangements by Robert W. Lowden are suitable for players at Grades 3-4.

The 2014 Christmas songbook from Lorie Line celebrates 25 years of her popular annual holiday tours. Includes 13 songs: Hark! The Herald Angels Sing - The Most Wonderful Day of the Year - Silver Bells - What Child Is This? - Rockin' Around the Christmas - Wexford Carol - I Wonder As I Wander - On Christmas Night - Winter Wonderland - It Came Upon a Midnight Clear - Hallelujah Chorus - We Need a Little Christmas - Silent Night.

Everyone will be sure to recognise many of the ten hits from the world of the West-End Musical. Contains songs from Sweet Charity Aspects of Love My Fair Lady A Chorus Line Fiddler On The Roof The Blues Brothers Phantom of The Opera and Joseph and His Amazing Technicolor Dreamcoat.

The composer says: Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee?s (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: ?In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.? Over the last couple of years I moved back to Jelly Roll Morton?s city: New Orleans, home of my adolescence and reacquainted myself with the tinges of Spanish in its rich musical heritage. One of these pieces was the Mardi Gras Mambo, an iconic song frequently played during Mardi Gras and, in David Newman?s reworking of the lyrics, at the New Orleans Saints football games as the Super Bowl Mambo. Uncited sources on both Wikipedia and Essortment say the word Mambo means ?conversation with the gods? in Kikongo, the language spoken by Central African slaves taken to Cuba where it became the name for a musical form and a dance style that developed originally in Cuba in the able hands of Cachao?s (Bassist Orestes Lopez) tune: Danzon Mambo. This rhythmic style became famous in the 1950?s following its use in dance bands in Mexico and through New Orleans to the United States. The infectiousness of the New Orleans re-interpretation of the Mambo?s ostinato bass line and the reaction of people who are readily moved to dance when they hear it spoke to me of dance and celebration. This led me to choose some of this piece?s characteristics and title for this piece: Mambo for MO. As we have progressed on the instrument, some of us may have encountered the four-chord descending minor chord progression known as the Andalusian cadence: i - VII - VI - V in many different genres and guises. After all, it appears in Ray Charles? Hit the Road, Jack, the verse on Good Vibrations by The Beach Boys, Walk, Don?t Run by The Ventures, Runaway by Del Shannon and in that great work arranged and embraced by the Guitar: J.S. Bach?s Chaconne from the Partita in D minor for solo violin, BWV 1004. This bass line derived from a Latin American musical style as reinterpreted in New Orleans, a chord progression that evokes the Flamenco Music of Spain, and my impressions of the sinuous lines of people dancing the Second Line in the streets of New Orleans at Mardi Gras led me to this synthesis as a tribute to a man who has contributed so much in his lifelong efforts for the guitar, its history and lore on the occasion of his birthday! Happy Birthday, Matanya! Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare?s Twelfth Night, and played incidental music for their production of Bertold Brecht?s The Good Woman of Sichuan. He has performed Carulli?s Guitar Concerto in A, Leonard Bernstein?s West Side Story and Marvin Hamlish?s A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony?s co-production of George Gershwin?s Opera Porgy and Bess.

from A Chorus Line-Hamlisch M/Kleban E Sing From A Chorus Line (Brymer Mark) Ssa & Solo

from A Chorus Line-Hamlisch M/Kleban E Sing From A Chorus Line (Brymer Mark) Sab & Solo

Compilation de thèmes de film spécialement arrangés pour piano, voix, guitare (symboles d'accords). Cet ouvrage est le 1er volume sur les deux ouvrages disponibles. Titres : dagio in do minore (Anonimo Veneziano); Amarcord (Amarcord); Amazing Grace (Amazing Grace); Bohemian Rhapsody (Waine’s world); Can’t take my eyes off you (Il Cacciatore); Chorus line (one) (Chorus line); Dance with wolves (Balla coi lupi); Fame (musical e film Fame); Georgia on my mind (Ray); Giù la testa (Giù la testa); Goldfinger (007 - Goldfinger); Histoire d’O (Histoire d’O); Hymne (Opéra Sauvage); I clowns (I clowns); I don’t want to miss a thing (Armageddon); Il bidone (Il bidone); La vita è bella (La vita è bella); Lara’s theme (Doctor Zhivago); Mission Impossible (Mission impossibile); Speak softly love (Il Padrino); Stessa spiaggia; stesso mare (Sapore di mare); The entertainer (La stangata); The great pretender (American Graffiti); Theme from New York; New York (New York, New York); You are the one that I want (Grease)

Tarik O’Regan's The Night's Untruth for SATB chorus Brass ensemble and Organ is a co-commission celebrating the 10th anniversary of JAM (The John Armitage Memorial Trust) and the 40th anniversary of VocalEssence. 'The Night’s Untruth explores the use of sleep as metaphor by dint of excerpts from poems written in the 17th to 20th centuries. Death love fear ecstasy isolation dreaming and rest are all textual “variations” on the “theme” of sleep and can be found in the chosen texts. The work’s title is taken from a line in a poem by Samuel Daniel (1562-1619) and speaks tothe composition’s focus on sleep as a parallel possibly dystopian existence to the one experienced in our waking hours.' - Tarik O’Regan March 2010 Scored for brass quintet organ and SATB choir with (minor) divisi and occasional moderately demanding solos for tenor and soprano this evocative 16-minute work probes the mystery of sleep with texts from poems by Keats Samuel Daniel Shakespeare and Hart Crane: 'death love fear ecstasy isolation dreaming and rest' are the themes O'Regan explores through these texts in a work as episodic as a disturbed night with the title creating a 'focus in sleep as a parallel possibly dystopian existence'. - Organists' Review

Tarik O’Regan's The Night's Untruth for SATB chorus Brass ensemble and Organ is a co-commission celebrating the 10th anniversary of JAM (The John Armitage Memorial Trust) and the 40th anniversary of VocalEssence. 'The Night’s Untruth explores the use of sleep as metaphor by dint of excerpts from poems written in the 17th to 20th centuries. Death love fear ecstasy isolation dreaming and rest are all textual “variations” on the “theme” of sleep and can be found in the chosen texts. The work’s title is taken from a line in a poem by Samuel Daniel (1562-1619) and speaks tothe composition’s focus on sleep as a parallel possibly dystopian existence to the one experienced in our waking hours.' - Tarik O’Regan March 2010 Scored for brass quintet organ and SATB choir with (minor) divisi and occasional moderately demanding solos for tenor and soprano this evocative 16-minute work probes the mystery of sleep with texts from poems by Keats Samuel Daniel Shakespeare and Hart Crane: 'death love fear ecstasy isolation dreaming and rest' are the themes O'Regan explores through these texts in a work as episodic as a disturbed night with the title creating a 'focus in sleep as a parallel possibly dystopian existence'. - Organists' Review

from Broadway's Longest Running Shows-Celebrate these classic long-running Broadway musicals with this 7-minute medley featuring a hit parade of favorite songs. Easy to learn and fun to perform! Includes: One (A Chorus Line) Beauty and the Beast DoYou Hear the People Sing (Les Misérables) Tradition (Fiddler on the Roof) Sun and Moon (Miss Saigon) Performance Time: Approx. 7:25.Available separately: SATB SAB SSA ShowTrax CD and InstrumentalePak (Parts for Trumpet 1 & 2 Tenor Sax Baritone Sax Trombone 1 & 2 Guitar Bass and Drums).

From the musical A Chorus Line and most recently recorded by Barbra Streisand on her album Encore: Movie Partners Sing Broadway this poignant song is one that composer Marvin Hamlisch said set the tone for all the music in the show. The dancers explain their experiences with attending dance school and no matter how dark the rest of their world seems they always feel happy at the ballet.