SKU: KN.64046
UPC: 822795640465.
This new advanced level edition is taken directly from the original ink parts that were on the stands at the Thad Jones-Mel Lewis Jazz Orchestra (now the Vanguard Jazz Orchestra) debut performance in February 1966 and continues to be played by the group Monday nights at the Village Vanguard in New York City. Originally commissioned by Count Basie for an entire album of Thad Jones' music, however Basie never made the record, instead suggesting that Thad start his own band. Low Down still maintains that swinging Basie mindset and is a 32- measure AABA form. Its basic foundations are a relaxed but powerful rhythm section with a driving ride cymbal beat and crisp hi-hat, underpinning saxes and brass that are tight, and always on the back of the beat. Duration 3:40.
SKU: HL.109292
UPC: 884088791988. 6.75x10.5 inches.
This old American dance song features fun lyrics, delightful vocal interplay, a hoedown accompaniment and a few stomps and claps to add energy. Easily learned and a showstopper in performance! Available separately: 3-Part Mixed, 2-Part, VoiceTrax CD. Duration: ca. 1:30.
Rolling Down To Rio first appeared in The Beginning of the Armadillos, one of the Just So stories by Rudyard Kipling. It was set to music in 1903 by Edward German, arranged for unison or solo Voice with Piano accompaniment. The arrangement has remained highly popular ever since
SKU: HL.4005893
UPC: 888680940911. 9.0x12.0x0.027 inches.
Here is an emotion-filled arrangement for young players based on the folk tune Down to the River to Pray, which is thought to have been composed by an African-American slave. There is an element of sadness in the music, but also a glimmer of hope as the slaves dream of freedom and being reunited with family and friends. Dur: 2:45.
SKU: CF.CMF1
ISBN 9780825857768. UPC: 798408057763. 6.75 X 10.5 inches. Text: Keith Hibbs; Claire Cloninger; Cherry Tadlock; Ron Harris. Claire Cloninger, Ron Harris, Cherry Tadlock, Keith Hibbs.
This collection offers both seasonal and general worship anthems from one of America’s premiere church writers. The anthems in this collection are perfectly suited for praise and worship and are sure to become an integral part of church choir programs. Seven anthems total, Hallquist has skillfully written these beautiful pieces with care and thoughtfulness; a style that has been one of his trademarks throughout the years. A must-have for every church choir! Faithful to the Vision (Anniversary/Dedication), I Often Dance (General Praise/Worship), In Times Like These (Encouragement/Easter Resurrection), Let Us Worship and Bow Down (Call to Worship), On a Hillside in Bethlehem (Christmas), They Could Not (Easter) and We Are His Love (Missions/Ministry).
SKU: HL.138737
UPC: 888680032913. 5.0x5.0x0.18 inches.
Get your boogie down with this 80's classic by Al Jarreau that has a funky feel that still grooves! Great solo opportunities and vocal riffs make it a super pop/jazz feature for pop, jazz and show choirs from high school and up.
SKU: AP.32509S
UPC: 038081393247. English.
Jay Sean is a British singer-songwriter, rapper, beatboxer, and record producer. His single Down topped the Billboard Hot 100, making him the first solo artist of South Asian origin and the first UK urban act to top the Hot 100. Sales so far make him the most successful British/European male urban artist in US chart history.
SKU: HL.4005037
UPC: 888680669560. 9.0x12.0x0.114 inches.
The African-American spiritual “Down in the River to Pray” forms the basis for this creative and dramatic work for mature ensembles. Opening with a tender chorale-like statement, the piece evolves throughout with variations in mood and intensity, ultimately building to a majestic and powerful conclusion. Dur: 5:20.
SKU: GI.G-5396
UPC: 785147539605. Text source: Traditional (Cameroon, South Africa).
Two African folk songs, with a high level of popularity in the USA, are combined with a Gloria derived from “He Came Down” to complete this flexible package of music for gathering. All ideally suited for unison assembly and SATB choir, unaccompanied—except for percussion, perhaps. ICET text for Gloria.
SKU: HL.329887
UPC: 840126907087. 5.0x5.0x0.15 inches.
Broadway veteran David Yazbek hasn't written original music for a production that didn't go on to be nominated for Best Original Score at the Tony Awards. This astonishing 5-for-5 streak is currently capped by his work on Tootsie, a musical adaptation of the 1982 film of the same name. I Won't Let You Down is an in-show audition piece, starting out lethargic, but morphing into something grandiose and memorable by the end--a showstopper!
SKU: HL.49003314
ISBN 9790220119880. UPC: 884088053444. 9.0x12.0x0.177 inches.
This volume presents a mixed and varied collection of jazzy violin arrangements with piano accompaniments. Contents: Down by the Riverside * Bill Bailey, Won't You Please Come Home * East Virginia Blues * Jeanie with the Light Brown Hair * La Paloma * The American Patrol * Frankie and Johnny * O Sole Mio. Includes score and pull-out violin part.
SKU: HL.35029468
ISBN 9781480365704. UPC: 884088962036. 6.75x10.5 inches.
This lively, rhythmic, and humorous arrangement is pure fun from start to finish, not to mention easy to learn! Hand-clappin', hootin' and hollerin', and even some barking and howling fill the verses and choruses key change after key change. Add some foot-stompin' and a fiddle and you're ready to “bile them cabbage down!” Available separately: SAB, 2-Part, StudioTrax CD. Duration: ca. 2:10.
About Together We Sing
Shawn ee Press: Together We Sing series
SKU: AP.33776S
UPC: 038081376363. English.
Green Day is one of the hottest groups around, and they made a huge impact with their 2009 album release 21st Century Breakdown. This arrangement of the album's title track features both straight-ahead rock and a swinging rock shuffle. Perfect for both field and stands, or as the opener to our Green Day show.
SKU: MB.31103M
ISBN 9781513468792. 8.75x11.75 inches.
Adam Granger self-published the first edition of Granger??s Fiddle Tunes for Guitar in 1979. A second edition was published in 1994. Now Mel Bay Publications presents the third edition of the book.
This 236-page book is the most extensive and best-documented collection of fiddle tunes for the flatpicking guitar player in existence, and includes reels, hoedowns, hornpipes, rags, breakdowns, jigs and slip-jigs, presented in Southern, Northern, Irish, Canadian, Texas and Old-time styles.
There are 508 fiddle tunes referenced under 2500 titles and alternate titles. The titles are fully indexed, making the book doubly valuable as a reference book and a source book.
In this new edition, all tunes are typeset, instead of being handwritten as they were in the previous editions, making the tabs easier to read.
The tunes in Granger??s Fiddle Tunes for Guitar are presented in Easytab, a streamlined tablature notation system designed by Adam specifically for fiddle tunes.
The book comes with a link which gives access to mp3 recordings by Adam of all 508 tunes, each played once at a moderate tempo, with rhythm on one channel and lead on the other.
Also included in Granger??s Fiddle Tunes for Guitar are instructions for reading Easytab, descriptions of tune types presented in the book, and primers on traditional flatpicking and rhythm guitar. Additionally, there are sections on timing, ornamentation, technique, and fingering, as well as information on tune sources and a history of the collection.
Mel Bay also offers The Granger Collection, by Bill Nicholson, the same 508 tunes in standard music notation.
SKU: PR.165000970
ISBN 9781491100462. UPC: 680160626717. 9x12 inches.
Commissione d by a consortium of 20 high school and university bands coordinated by Scott Hanna of the University of Texas at Austin, Downshifting is inspired by Welcher’s joy of bicycle riding. Welcher explains in the program note: When I decided to write a piece for band that was basically entertaining and uplifting, it made perfect sense to call it Downshifting... With three gears on the front sprocket and seven on the rear, it’s possible to keep one’s legs going at a constant speed (for me, q = 126) while the bike itself may be moving very slowly or very quickly. I determined to capitalize on this in writing Downshifting, which keeps the same mathematical inner pulse, ‘shifting’ (with a ratchet) as the terrain changes..One of the joys of life for me is riding my 21-speed bicycle. As a basically non-athletic person who nonetheless likes to stay in shape, I have found that riding my bike provides just the exercise I need. The workout is strenuous, but pleasant—and the infinite variety of scenery I pass keeps me alert and wide awake. When I decided to write a piece for band that was basically entertaining and uplifting, it made perfect sense to call it Downshifting.With three gears on the front sprocket and seven on the rear, it’s possible to keep ones legs going at a constant speed (for me, that’s 126 to the quarter note) while the bike itself may be moving very slowly or very quickly. I determined to capitalize on this in writing the music, which manages to keep the same mathematical inner pulse, “shifting” (with a ratchet) as the terrain changes. So Downshifting begins with that steady pulse, on a grid of eighth notes in 2/4 to propel the little vehicle forward. There’s a joyous little tune in our heads as we begin our ride. As the initial thrill of riding on the flat gives way to monotony, we stay in that pulse for the first minute or so of the ride. Then, as the first hill becomes visible, we shift the bike down: even though the eighths are equal, the pulse feels slower (and we’re now in 6/8 time). Ultimately the compound meter shifts again as the climb begins, and we’re now plodding doggedly up the hill. (The music reflects all of these changes, with subtitles such as “Working harder—Seeing the climb, ahead”, “Steady and committed…the climb begins!”, “Straining against the grade”, etc.).There are two hills, and two long climbs (but in different keys, reflecting the change in scenery). When at last the summit of the second hill is reached (“Flying, Over the Top”), we coast at last down the other side at breakneck speed. The initial joyous melody returns, but now in a spread-out coasting pulse. At the end of the ride, we slow to a stop—then take one last sprint (shifting five times in the process) in order to end on a biker’s high.Downshifting was commissioned by a consortium of fourteen high school and college bands, overseen by my longtime colleague at the University of Texas, Scott Hanna. The piece is dedicated to him (and to all bicycle enthusiasts).
