3 Recorders. Verrall P
SKU: PR.ZM30310
SKU: CL.070-1976-99
Completely revised in 1995. Now includes the most up-to-date information available for jazz educators. New charts, lists and bibliographies have been included as well as a complete chapter on Computers, Technology and Jazz Education. This text is a must for the director with little experience with jazz ensembles or for those wanting to update their skills in areas necessary to create a comprehensive jazz program in your school system. The Jazz Ensemble Director’s Manual has been the text of choice in many college jazz classrooms and the new revisions will enhance its continued use. This book is literally loaded with charts, drawings, forms, photographs, tables and music examples and will be a source of information for years to come. It includes a compact disc recording that allows you and your students the opportunity to hear as well as see the musical examples in the Phrasing and Articulation chapter. Every practical aspect of establishing a solid jazz program is covered, ranging from the basics of starting an ensemble to effective rehearsal techniques that get the most from your students. From a musical perspective, this text will give you an in-depth understanding of jazz chord notation, phrasing and articulations. It includes a chapter on the jazz combo which presents information on the setting up of a combo in addition to suggested repertoire considered standard for combo training. The publisher index has been revised to reflect recent changes in publishing areas and the extensive bibliography of selected materials for jazz improvisation has been updated to include recent publications. This text had it all...now with a revised edition available, it has even more! Contains Chapters On: Starting a Jazz Ensemble Program, Jazz Ensemble Instrumentation, The Jazz Combo, Selecting the Music, Ensemble Set- Up, The Jazz Ensemble Conductor, Rehearsal Psychology and Techniques, Phrasing and Articulation, Contest and Concert Preparation, Sound Reinforcement, Understanding Chord Notation, The Rhythm Section, Teaching Basic Jazz Improvisation, Computer Technology and Jazz Education.
SKU: HL.44007582
UPC: 884088264086. 9.75x13.25x2.25 inches. English(US)/Deutsch/Franc ais/Nederlands.
Thi s delightful new composition takes its inspiration from the classic French swash buckling tale of Cyrano de Bergerac and his fight to win the love of the beautiful maiden Roxane. The subject was a perfect departure point for composing a symphonic poem with a variety of musical aspects reflecting the story. Lyricism (the theme of Roxane), dramatic episodes, as well as Debussy-inspired impressionist moments are some of the elements that give the band and its conductor the chance to expose themselves as a versatile ensemble being able to create colour, to sing and to play like virtuosi. This work is sure to become a standard item in the concert band repertoire.In Cyrano verklankt de componist Piet Swerts het romantische en tragische verhaal van de briljante dichter en zwaardkunstenaar Cyrano de Bergerac en zijn mooie, intellectuele nicht Roxane, op wie hij tot over zijn oren verliefdis. Zijn uiterlijk, met name zijn buitengewoon grote neus, belet hem om zijn gevoelens tegenover haar te uiten. De vele verwikkelingen die uit deze situatie voortkomen zijn te herkennen in deze programmatische compositie.Piet Swerts erzahlt hier musikalisch die tragisch-romantische Geschichte von Cyrano de Bergerac, der einem verliebten Freund hilft, seine Liebe zu erobern und sich dann selbst unglucklich in dessen Angebetete verliebt. Diese Komposition spiegelt die Geschichte mit einer Vielfalt an musikalischen Aspekten eindrucksvoll wider. Lyrik, dramatische Episoden sowie von Debussy inspirierte, impressionistische Momente sind einige der Elemente, die dem Blasorchester und seinem Dirigenten die Chance bieten, sich als vielseitiges Ensemble, das zugleich Farben entfalten, singen und virtuos spielen kann, zu prasentieren.La comedie heroique Cyrano de Bergerac (1897) valut a son auteur une gloire immediate. Cyrano, heros tragique et attachant, est entre dans le patrimoine universel, sans doute parce qu'il incarne superbement un mythe bien ancien : celui de l'amour et du bonheur impossibles. Ce delicieux chef-d'œuvre theatral d'Edmond Rostand a inspire ce poeme symphonique de Piet Swerts qui s'articule autour d'une grande diversite musicale exprimant differentes scenes de la piece. Passages lyriques, episodes dramatiques et moments impressionnistes, Cyrano comprend de nombreux ingredients qui permettent au chef et a sa formation d'exploiter leur polyvalence a travers lacouleur, le chant et le jeu virtuose. La commedia Cyrano de Bergerac (1897) valse al suo autore gloria immediata. Cyrano, eroe tragico e commovente, e entrato nel patrimonio universale senza dubbio perche incarna a meraviglia un mito molto antico: quello dell'amore e della felicita impossibili. Questo delizioso capolavoro teatrale di Edmond Rostand ha ispirato il poema sinfonico che si articola attorno ad una grande diversita musicale esprimendo diverse scene dell'opera teatrale. Passaggi lirici, episodi drammatici e momenti impressionanti, Cyrano comprende numerosi ingredienti che permettono al maestro di sfruttare la polivalenza attraverso il colore, il canto e il suono virtuoso.
SKU: PE.EP14445
ISBN 9790014135041. 297 x 420 mm inches. German.
ARKA stammt aus dem Sanskrit und bedeutet so viel wie Strahl, Blitz, Sonne, Licht, aber auch Lied, Feuer und Hymnus, und entwickelt in meiner Vorstellung sehr viele unterschiedliche Assoziationsfelder. In ARKA stecken auch die Worter arc (beten) und ka (Wasser), und es kann auch ubersetzt werden mit: ,,Das Wasser stromt aus dem heraus, der mehr weiss.
Mein neues Werk fur Pipa, Oboe, Pauke, Schlagzeug und Orchester entstand im Auftrag der Kammerakademie Neuss und auf Anregung des Oboisten Christian Wetzel. Es entstanden drei Rituale mit zum Teil szenischen Elementen fur die Solisten und das Orchester.
Inspirationsquelle in der Vorbeschaftigung waren zwei Quellen und Bucher. Das Daodejing von Laozi in der hervorragenden Neuubersetzung von Viktor Kalinke, eine der wichtigsten Quellen chinesischen Denkens und der Philosophie dieser grossen Kulturtradition und die chinesische Tradition der 5-Elementelehre und der Wandlungsphasen. Als zweites Buch hat mich ,,Die Glut von Roberto Calasso inspiriert, ein Buch uber die indischen Veden in Verbindung mit den Ursprungen des Buddhismus und den damit verbunden Ritualen.
In den letzten 20 Jahren habe ich mich intensiv mit ostasiatischer Musik, Kunst und Philosophie beschaftigt und habe das auch durch langere Studienreisen und kompositorische Projekte vertiefen konnen. U.a. wurde 2012 mein Chorwerk PRAN in Kolkata in Indien uraufgefuhrt (Goethe-Institut), ebenfalls 2012 ,,in between VI fur Sho und Sheng in Tokyo und 2013 ,,Mirror and Circle fur Pipa, Cello und chinesisches Orchester in Taipeh/Taiwan (Auftragswerk der taiwanesischen Regierung). Mit der chinesischen Pipa-Virtuosin Ya Dong arbeite ich seit 2000 zusammen und habe fur sie mehrfach komponiert (Urauffuhrungen u.a. in Hannover/EXPO 2000, Rottweil 2001, Taipeh 2013, Magdeburg 2016). Auch mit Christian Wetzel arbeite ich seit uber 20 Jahren zusammen und habe ebenfalls haufig fur ihn komponiert (UA u.a. in Bonn 1999, Hannover/EXPO 2000, Rottweil 2001, Darmstadt 2004 und etliche weitere Projekte).
Jedes dieser drei Rituale hat eine Lange von ca. 6-7 Minuten und stellt unterschiedliche Qualitaten und Besonderheiten der beiden Soloinstrumente heraus, immer in Verbindung mit der Interaktion zwischen Soli und Orchester. Die Besetzung war fur mich ausserst reizvoll, da beide Instrumente in dieser Kombination noch nie so erklungen sind. Die Pipa ist ein ungemein modernes und ungewohnliches Instrument, reich an Farben und vor allem an perkussiven Effekten. Das Tonmaterial wurde zum grossten Teil aus den Namen der beiden Solisten gewonnen und ergibt interessanter zwei gespiegelte Viertonmotive. In der asiatischen Kultur spielen der Spiegel und der Kreis eine wichtige Rolle, und so werden die Tone, Rhythmen und Formen eingewoben in diese drei Rituale, welche am Ende des dritten Satzes wieder kreisformig an den Anfang des ersten Rituals anknupfen. Ein von den Streichern und der Pauke erzeugtes Gerausch, verbunden mit dem Rhythmus der grossen Trommel, welcher einen Herzschlag symbolisieren soll. Die drei Untertitel der Rituale Himmel, Erde und (atmospharischer) Raum spielen im vedischen und chinesischen Denken eine grosse Rolle und war fur mich beim Komponieren ebenfalls eine sehr starke Inspirationsquelle. In vielen meiner Kompositionen gibt es Raumeffekte, Annaherungen an das Publikum, das Verschieben von Perspektiven, die Dekonstruktion und das Hinterfragen der ublichen Konzertsituation, so u.a in meinem Beuys-Zyklus oder in den Zyklen ,,CUT und ,,in between.
In ARKA geht es mir besonders um die Interaktion zwischen westlichem und ostlichem Denken, um das gegenseitige Durchdringen dieser auf den ersten Blick so unterschiedlichen Denk- und Lebensweisen, um eine Verschmelzung scheinbarer Gegensatze - um Annaherung!
Bernd Franke. Leipzig, 11.10.2019
for low voice and piano This beautiful collection of 14 songs for low voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for high voice and piano.
AGNI is the Hindu god of fire; the elemental and transformative force inherent in everything:
Every flame, every fire, every light, every warmth is AGNI.
AGNI is omnipresent, establishing everything and ending everything.
AGNI is often depicted with seven tongues which represent different aspects of his being.
These include: creating, sustaining, cleansing, purifying, priestly, martial, devastating, destructive, and consuming.
Derived from Franke's concerto of the same name, this solo work for bass clarinet compositionally traces the transformative processes initiated by the divine fire. The solo takes seven pieces from the concerto, presenting vivid character pieces exploring the creative possibilities and wide tonal range offered by the bass clarinet.
This version of AGNI for bass clarinet solo was premiered on 4 December 2020 in Leipzig by Volker Hemken, the principal bass clarinetist of the Gewandhausorchester Leipzig. EP14437a convinces with its excellent and clear notation, making the piece a new standard for bass clarinet.
Ikons, commissioned by the Vancouver Cultural Olympiad 2010, exists in two forms. This 14-minute acoustic version, premiered by the Turning Point Ensemble, calls for an octet of live musicians to execute complex rhythms and quarter-tone harmonies.
The interactive, electronic version, created with visual artist Eric Metcalfe and designed to be presented separately, incorporates samples from this acoustic version into a sculptural environment of seven pyramidal structures that respond sonically to the viewer.
Roxanna Panufnik's Sonnets without Words is a contemporary piece for Horn in F and piano. Written for horn player Ben Goldscheider, Panufnik has reimagined the lyrical vocal lines from three of her previous settings of Shakespeare's sonnets (Mine eye, Music to hear and Sweet Love Remember'd for voice and piano) into a purely instrumental work.
Score and horn part.
Stephen McNeff's Trig is a short 7-minute contemporary work for solo cello, written to celebrate the bicentennial of the Royal Academy of Music in 2022 and in memorium cellist Mike Edwards 1948-2010.
Trig was premiered by Henry Hargreaves on 19 March 2021, livestreamed from the Royal Academy of Music.
to an utterance - study was commissioned by Klangforum Wien for the premiere commercial audio recording on a portrait CD in 2020 and first performed by Joonas Ahonen at the Berlin Philharmonie on 4th September 2020 at the Musikfest Berlin.
Roxanna Panufnik's Spirit Moves, for brass quintet, was commissioned by the Fine Arts Brass Ensemble. This 15-minute piece is scored for two trumpets in Bb (one doubling piccolo trumpet and the other doubling flugel horn), horn in F, trombone and tuba. This brass quintet is so called because the outer movements are highly spirited and the central one is spiritual.
This product consists of score and parts.
A gently flowing 3-minute arrangement by Roderick Williams for SATB (with divisi) with piano accompaniment that captures the beauty of this famous traditional Hebridean love song. The song text uses both old dialect and English, each verse ending with the words, 'Sad am I without thee'.
for high voice and piano This beautiful collection of 14 songs for high voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for low voice and piano.
for SATB and organ This energetic setting of words by St Ambrose of Milan is a real showstopper. With pop-influences and a sparkling organ part, Young effortlessly fuses modern and traditional sound worlds, while changes in key and metre build up to an invigorating finish. Perfect for accomplished choirs looking for something different.
for SA unaccompanied This simple, charming two-part motet features long melismatic phrases that reflect the text (1 Corinthians 2: 9), such as the rising melodic line over three bars on the word 'ascended' (ascendit).
for SAATB unaccompanied. This glorious musical depiction of the honour, strength, power and authority of the Holy Trinity by Thomas Tallis is the third issue in the CMS's series of great English Responds from the 16th century, edited by Sally Dunkley. Scored for SAATB, it can be performed either as a motet or as a full Responsory with plainsong alternating with polyphony.
Based on a traditional Scottish/Irish 'farewell' song, this short piece is one of six works written to express my love of Scotland. After living there for nearly half my life, and raising a family, I moved back to England in 2018, and remarried in 2019.
Of course, there were many different emotions attached to the move south: especially the joy and excitement of new beginnings, and reconnection with friends from my youth.
But this piece expresses the wrench I experienced after a last family meal in Glasgow, and the realisation of all I was about to leave behind.
I have taken the melody of the original song, and expanded it, exploring the detail of its patterns, so that it becomes a timeless meditation.
The six pieces in the 'farewell' series are for 6 violas, string quintet, string quartet, trio, violin and clarinet duo, and solo clarinet.
The Parting Glass was composed in 2020 during the coronavirus lockdown, which intensified the feeling of separation from my Scottish family, as well as from other musicians.
It was commissioned by Vittorio Ceccanti for the ContempoArtEnsemble.
Maple arose from a commission to write a work for solo cello, to be performed alongside readings from artist John Newling's collection of letters entitled 'Dear Nature'; a poetic manifestation of our relationship with the natural world.
The piece is in eight short sections, to be interspersed with readings of groups of the poems. It may also be performed as a single movement. It begins with a seed - the seed of a maple tree, as it hangs on the mature tree, ready to drop. The seeds are like propellers, sometimes travelling more than a mile before landing on the ground. Maple follows the growth of the tree to maturity - which in reality would take at least a hundred years. 'Roots, shoots' grows downwards and upwards from a pedal note, and the dance-like 'Flowers' is followed by the stately 'Tree', and then the warm, cascading 'Autumn'. Maple is very often the wood of choice for the back of a stringed instrument, and the last section uses open strings to explore the full resonance of the cello.
The piece starts with a 'seed' of only five notes, which grows into different configurations. It is intended to be played in an improvisatory style.
Maple was co-commissioned by Brighton Festival, Ars et Terra Festival with SACEM and Ditchling Arts and Crafts Museum, to be performed by Margarita Balanas as part of the Brighton Festival's 'Dear Nature' project.
First performed by Noriko Kawai for Huddersfield Contemporary Music Festival, in a broadcast from the Radio Theatre, BBC Broadcasting House, November 2020.
Full of beautifully crafted, delicate tintinnabulations - Richard Morrison, The Times
SKU: CF.WF231
ISBN 9781491153314. UPC: 680160910816.
Styli stic Etudes for Trombone was written for intermediateto advanced level trombonists, seeking to meet thedemands of the modern marketplace for performers. AsI often tell my students, it’s simply not enough to mastera single style and fake the rest. To make a living as aperformer, trombonists are expected to play many, manydifferent styles authentically. Classical performers studyhard and devote themselves to mastering the stylisticnuances of various eras, various composers, variousforms; jazz musicians seek to accurately reflect the stylesof everything from bar-room burlesque to Coltrane; hornbands in the funk, rock, ska and hip-hop idioms mustreflect attention to the details of their influences even asthey create new paths through popular music.This etude collection is an attempt to help studentsand their teachers work on the details associated withmastering each of these various styles.In order to perform with the correct feel, articulationand sound, trombonists must first get these concepts intheir head through diligent listening and then disciplinedpractice playing in every single style. The same wayorchestral players study the symphonic literature andexcerpts, or the way a professional jazz musician mightwork on chord changes in excruciating detail, a wellroundedtrombone player must master styles by listeningto and playing with great recordings. Most of the etudesin this book are based on styles from specific orchestralliterature, jazz standards and other styles such as NewOrleans’ funk music (Meters) or the music of JamesBrown and Tower of Power.One final note: some of these are hard. On purpose. Theseare not warm-ups that you can play through mindlesslyto get your face going. These are “study pieces†in the oldfashionedsense. They are designed to challenge you asa player, to make you a little uncomfortable. Some aretougher than others, of course, but none of them are easy.If you can play through each of these well, with greatmusicianship and impeccable technique, you will be anincredibly versatile instrumentalist and be able to secureperformance opportunities that are outside the comfortzone of many trombonists.Thanks for buying this book. I hope you enjoy workingthrough these, whether you’re a teacher, student,performer, or weekend warrior. I learned a lot by puttingthese together and I hope you find them useful and helpful.Stylistic Etudes for Trombone was written for intermediate to advanced level trombonists, seeking to meet the demands of the modern marketplace for performers. As I often tell my students, it’s simply not enough to master a single style and fake the rest. To make a living as a performer, trombonists are expected to play many, many different styles authentically. Classical performers study hard and devote themselves to mastering the stylistic nuances of various eras, various composers, various forms; jazz musicians seek to accurately reflect the styles of everything from bar-room burlesque to Coltrane; horn bands in the funk, rock, ska and hip-hop idioms must reflect attention to the details of their influences even as they create new paths through popular music.This etude collection is an attempt to help students and their teachers work on the details associated with mastering each of these various styles.In order to perform with the correct feel, articulation and sound, trombonists must first get these concepts in their head through diligent listening and then disciplined practice playing in every single style. The same way orchestral players study the symphonic literature and excerpts, or the way a professional jazz musician might work on chord changes in excruciating detail, a well-rounded trombone player must master styles by listening to and playing with great recordings. Most of the etudes in this book are based on styles from specific orchestral literature, jazz standards and other styles such as New Orleans’ funk music (Meters) or the music of James Brown and Tower of Power.How these etudes were conceived, composed and transcribed: The style or concept of the etude was thought out in my head and ear. I then improvised in that style and concept on my trombone, recording my efforts until I was satisfied with the etude. All along, my goal was to play the range of the instrument while emphasizing certain articulations, rhythms, range and, fundamentally, the intended style of the etude. The resulting etude was then transcribed by a terrific graduate student named Zach Bornheimer, who also works with many other classical and jazz composers as a copyist/arranger.Tips for working on the etudes: Seek out professional recordings that match the style of each etude to get a good idea of what the etude should sound like musically. My recording of each of these etudes is available for download and can be purchased online for a modest fee. Search for “Brantley Etudes†at either iTunes or CDBaby. Practice each etude very slowly and in segments as needed, using a metronome. Record yourself and listen for good technique, musicianship and authenticity of style with your sound, feel and articulations. Compare your own efforts to the sounds you’ve heard on recordings. Would you fit in that ensemble or band? If range is an issue, take certain notes or passages down or up an octave. Work on your fundamentals every day, including the techniques and skills needed for these etudes. Be patient! Small improvements every day result in big success over time. Always play with a wide dynamic range. Always play with line and direction. Always play with impeccable time as well as rhythm. Use a metronome to help with this. Always play in tune. You can work on this with a tuner as well as with drones. Play these for teachers, friends, peers and colleagues not only for their feedback but also for the experience of informal performance. An audience changes everything. Make music, listen to music, record yourself, play in public and have fun!One final note: some of these are hard. On purpose. These are not warm-ups that you can play through mindlessly to get your face going. These are “study pieces†in the old-fashioned sense. They are designed to challenge you as a player, to make you a little uncomfortable. Some are tougher than others, of course, but none of them are easy. If you can play through each of these well, with great musicianship and impeccable technique, you will be an incredibly versatile instrumentalist and be able to secure performance opportunities that are outside the comfort zone of many trombonists.Thanks for buying this book. I hope you enjoy working through these, whether you’re a teacher, student, performer, or weekend warrior. I learned a lot by putting these together and I hope you find them useful and helpful.Best wishes,—Tom Brantley.
SKU: HL.49044460
UPC: 888680641511. 10.0x14.5x0.044 inches.
Toshio Hosokawa studied in Tokyo and in Germany (with Isang Yun, among others). His first opera 'Vision of Lear' had its first performance at the 1998 Munich Festival, where it was highly praised as 'a work inspired by the meeting of East and West, opening the way to a new musical world'. This bridge between East and West is a characteristic feature of his compositions and is reflected particularly in his choice of instruments. 'Bird Fragments III' makes use of the sho, the Japanese equivalent of the sheng mouth organ, bass recorder and piccolo (with just one player) and is dedicated to Toru Takemitsu.
SKU: AP.1-ADV12018
UPC: 805095120189. English.
Includes 42 additional jazz and Latin originals from 20 of his critically-acclaimed recordings (discography included).Titles: 3/2 Rock * African Flutes * Alto-Tenor Duets * Aniversario * Bachi * Blues for Home * Brazilian Waltz * C. P. * Carnaval * Children's Pieces * Coco B. * Coming Home * Donna, My Love * Don't Ever Leave * Elizete * Gentle Breeze * I Remember Spring * Ice Crystals * In The Beginning * Leavin' * Legacy * Machaca * Malibu Glide * Melino do Rio * Millbrae Walk * Novelho * Once Again * Ontem á Noite * Piece For Scotty * Quiet Reflections * Samba Claro * Samba Da Borboleta * September Afternoon * Sleep Sweet Child * Solar Patrol * Sonho * Suerte * The Blues * The Duke * The Strut * Tom Cat * Western Airlines.
SKU: AP.1-ADV31205
UPC: 805095312058. English.
This arrangement of Peter Erskine's Bulgaria is a real tour de force for the entire ensemble, and always brings the audience to its feet. It features solo space for trombone, soprano sax, piano (or optional vibes), and drums, as well as a wild and exciting section with five soprano saxophones in unison, reflecting the intense feeling of certain kinds of Bulgarian folk dances. Clarinet may be substituted for some of the sopranos, if necessary.
SKU: AP.1-ADV31205-1
English.
SKU: HL.48023472
UPC: 888680052591. 10.5x14 inches.
Edward Fairlie's Storm and Urge is a significant work for wind band and portrays a journey of emotional turbulence. The title comes from the German “Sturm und Drang,” a literary and musical movement of the late 1700s which focused on extremes of emotion. Opening with a simple and reflective theme, we are then taken through a range of emotional settings from uncertainty to resistance, and then calm resolve and self-knowledge. With a variety of textures and vivid imagery, this is a masterful work for the contemporary ensemble. Duration: 9:00(Recorded by the University of Minnesota Wind Ensemble – Ingrid Martin, conductor).
SKU: AP.47638
UPC: 038081543314. English.
A folk-infused ballad celebrating the miracle of Hanukkah. Originally recorded by 90s pop sensation Lisa Loeb, this reflective change-of-pace choral features a rhythmic yet mellow accompaniment and straightforward but expressive vocal parts. Whether you perform with the guitar-inspired piano part, the optional SoundTrax CD, or a folk ensemble of your own, this is truly a special touch for holiday concerts.Because of changes in our school's schedule and the taking away of the music requirement in 7th and 8th grade, our choir numbers have dropped significantly. Searching for music that has educational value and that the choir will sound good on (we know that's important for the parents and faculty) I came across Light arranged by Andy Beck. This quickly became a favorite of my choir! The kids are excited to rehearse it every day and the sound they are achieving fits the folk-like feel of the piece. We are using the 2-Part version. Being 7th and 8th graders, of my nine boys, three are unchanged voices (singing alto as written) and my other six are in varying stages of voice change. Those six are bouncing back and forth between alto and soprano parts, singing them down an octave. Thank you for providing a great piece for the holiday season!Matt AlbrechtChoir DirectorCopley-Fairla wn Middle School
About Alfred Pop Choral Series
The Alfred Pop Series features outstanding arrangements of songs from the popular music genre. These publications provide exciting, contemporary, and educationally-sound arrangements for singers of all ages, from elementary through high school, to college and adult choirs.
SKU: AP.47640
UPC: 038081543338. English.
SKU: AP.47641
UPC: 038081543345. English.
