Play the First Part!: Clarinet: Instrumental Collection

A delightful Christmas cantata for children’s voices (and ensemble/electronic backing tracks) with or without narrator: reggae jazz rock ballad and pop numbers to witty text by Richard and Thomas Allain. Caesar has called a census in the Holy Land. So everyone is crowding back into Bethlehem a town where they read Shalom! Magazine where suddenly there are donkey traffic gridlocks and hotels where you can't get a room for love or shekels. Tom works doing odd jobs at the Fun Big Inn which isn't much fun at all. This busy night he decides to leave the landlord in the lurch and head for the bright lights of Jerusalem. But he doesn't get far running first into reggae singing shepherds and then three groovy wise dudes following a star. Tom can hardly ignore the remarkable things they have to tell him. So what does he do next? What would any of us do? Richard and Thomas Allain retell the story of the Nativity in a new and individual way with immediacy and wit in a string of unforgettable tuneful songs and sharply clever words in an idiom accessible to everyone. Manger Tom can be performed with unison voices someone to narrate highly effective with just Piano or Keyboard accompaniment. But there are parts available too for instruments you might want to add. Included with the score of Manger Tom is a CD which comprises of a full performance of the musical numbers by professional singers and players as well as just the accompaniments for everyone to sing along to if they prefer. Additionally lyric sheets and a script are available as free downloads - visit www.hybridpublications.com to access the bonus material. Lyric sheets enable easy rehearsals and the script allows Manger Tom to be performed as a full nativity play. Review from Andrew Stewart of Classroom Music says: 'Manger Tom manages to squeeze within the space of eight numbers everything from big-band and rock numbers to reggae and in ‘Star of the

Taking a text from As You Like It for its lyrics Under The Greenwood Tree (Op.24 No.1) was written in 1917 by Herbert Howells. It is the first in a collection of 3 songs all of which are settings of poems from plays by Shakespeare. It is scored for two Voice parts (either soloists or choruses) with Piano accompaniment and dedicated to Brian.Herbert Howells (1892-1983) was an English composer and teacher who is perhaps best known for his choral music in the Anglican tradition.

In this composition William Vean takes you on a journey through the fascinating and exciting world of animals. Apart from it being a composition filled with 'special effects' Animal Kingdom contains many educational elements such as playing inswing (triplets feeling) chromatics flutter tonguing gypsy tuning varying keys and of course dynamics and articulation. The melodic lines occur in all four voices as well as in all percussion parts providing each musician with theopportunity to play a solo or to accompany. Highly recommended for your youth band! William Vean is an educational composer. He knows how to musically shape the special elements from our daily lives. His music is therefore veryexpressive containing creative solutions to possible problems. Special ways of playing make his music particularly interesting for the winds but the percussion section is also featured in his special effects. The world of the animalsalways plays on ones imagination. In Animal Kingdom William Vean has portrayed a number of animals in a special manner: Kevin Kangaroo - The jumping character of this animal can be heard in different voices. The swing style alsoemphasizes the characteristic movements of the kangaroo. Playing in swing style can be practised by using scales. Eddy Elephant - For some of his smaller fellow fauna friends this can be quite an ordeal but for Eduard (Eddy for friendsand intimates) it is his daily walk. Baldrick Bat - Baldrick the Bat is a mysterious character. This can be heard in the fast moving valves and keys accompanied by special effects in the percussion section. Curtis Camel - Curtisthe Camel trudges across the desert feeling bored. The idea that the horizon will never change does not affect him anymore. He has accepted his fate. The distinctive tones from the gypsy scale provide the suitable oriental sounds. BettyButterfly - Butterfly Betty elegantly and without worries flutters from flower to flower in the garden. Her motto: Carpe Diem (Seize the Day). Betty is a one-day butterfly. Marvin Monkey - A 'swing' monkey stirs up the feelings. Evenmembers of the orchestra will look like real monkeys. How about your audience? Each part has its own difficulties and challenges. Important in the first part is playing 'in swing' (triplets feeling). This can be practised usingscales. In the second part ensemble playing and balance are important. In Baldrick additional information on the effects that have to be played might be useful. 'New' sounds are of course welcome. Curtis the Camel introduces thegypsy scale. Additional explanation of the use of the scale might be useful. Key changes are interesting in this part. A slight accent on the first beat of the bar will add to the charm of this part. Marvin the Monkey brings back the swingrhythm that was introduced in the first part altern

With Online Audio (Guide For Serious Player)-Philip John Berthoud's Irish Fiddle Playing has been carefully designed to make the personal aspects of traditional Irish fiddle playing improvisation and interpretation accessible to noviceplayers.Drawing on his experience writing out reels jigs and other tunes for new players at a North London session and teaching fiddle  Philip John Berthoud conveys what to do with tunes to makethem your own. The first part of the book discusses such subjects as the 'language' of traditional music posture bowing and effective practice with a detailed analysis of left and right hand technique. The second section is aselection of tunes that demonstrate the ideas in the first part. The aim of the book is to allow the player to look more closely at their technique while also improving accuracy and speed. A recording adds an extra dimension tothe learning experience. Audio download available online.The aim of this book is to allow the player to look more closely at their technique while also improving accuracy and speed. The included audio recordingadds an extra dimension to the learning experience.

Learning the Blues Has Never Been So Easy! Have you always wanted to play the blues? Authentic blues? Realize your dream of becoming a great blues guitarist with Alfred's Learn to Play Blues Guitar---the simple, straightforward, and effective way to learn the blues. Whether you are a beginning guitarist or an advanced player just getting into the style, start playing real blues music right away through easy-to-understand instructions and great-sounding examples. The first part of this book and video covers blues rhythm playing. Learn over 50 blues rhythm patterns, including medium shuffle, uptown blues, slow blues, blues-rock, mambo, and more. The second part covers blues lead guitar. Start with learning basic soloing techniques---such as slides, hammer-ons, pull-offs, bending, vibrato, and rakes---then dive right in by playing 18 great blues solos in the styles of legends like Eric Clapton, Albert Collins, Jimi Hendrix, Stevie Ray Vaughan, Albert King, and B. B. King. Features: * All examples include standard music notation and TAB * Every lesson and music example is clearly demonstrated on the video by noted educator Steve Trovato * MP3 accompaniment tracks to hone your skills as a blues lead guitarist / Guitare

Written for Philip Redfern and the choir of St George’s School Edinburgh who first performed it in December 2014 this is a refreshing new setting of the well-known Christmas carol. Will Todd’s expertise in crafting memorable melodies is on display here along with delicate interplay between the two upper voice parts and the Piano. An approachable carol beautiful in its apparent simplicity it would be a delightful addition to both Christmas concert and services alike.

Baroque tradition remained alive in the music of Salzburg Cathedral into the first decades of the nineteenth century. This called for the inclusion of three trombones playing colla parte with the alto tenor and bass in the tuttis. Although not expressly noted in the autographs of the Masses the participation of trombones is authentically documented for K. 65 (61a).- Urtext of the New Mozart Edition- Full score performance material (BA5341) and vocal score (BA5341-90) available for sale.

Shortly after the Second World War a combative movement of Danish Belgian and Dutch artists chose the cobra snake - extremely dangerous yet considered sacred - as a symbol of their resistance to strict guideliness of form. The name 'Cobra' also happens to contain the first letters of the cities Copenhagen Brussels ans Amsterdam from where most of the movement's members came. The Cobra movement which existed from November 1948 until November 1951 can with some justicication be called the last major avant-garde movement of the 20th century.The source of inspiration for the composition Cobra comes from four paintings: 'Obhobning' by the Dane Egill Jacobsen; 'La jeune fille et lamort' by the Belgian Pierre Alechinsky; 'Orgeldraaier' and 'Le rythme joyeux de la ville' by the Dutch artists Karel Appel and Corneille. Obhobning means 'pile-up' which is represented musically in the first part by a melodic and harmonic pilling up of perfect fourth's. The first part is also characterized by a rhythmic feeling which the painting gives through its use of numerous black stripes. In the painting La jeune fille et la mort Pierre Alechinsky places a young girl opposite Death. The second part features the constantly pulsating motion of live while a creeping dark melodic line develops. The tension between life and death is tangible as a battle reveals itself. In part three one hears the Orgeldraaier by Karel Appel as cheerful and playful as an organ grinder's music. The painting Le rythme joyeux de la ville by Corneille is busy and extremely dynamic a perfect source of inspiration for a powerful rhythmic ending to this composition.

Baroque tradition remained alive in the music of Salzburg Cathedral into the first decades of the nineteenth century. This called for the inclusion of three trombones playing colla parte with the alto tenor and bass in the tuttis. Although not expressly noted in the autographs of the Masses the participation of trombones is authentically documented for K. 65 (61a).- Urtext of the New Mozart Edition- Full score performance material (BA5341) and vocal score (BA5341-90) available for sale.