SKU: HL.14027879
11.75x16.5x0.03 inches.
Jonathan Harvey (1939-2012) was a British composer who studied at St Johns College, Cambridge and Princeton University, and who later taught at various universities and conservatoires across Europe and North America. Round The Star And Back is designed for Piano and 'a few other instruments capable of reasonable blend'. It was written in 1974, and includes a set of instructions for the players to craft their own unique performance.
SKU: LP.765762119024
UPC: 765762119024.
Bulk pack of ten performance demo CDs, each in a paper sleeve; useful as an aid for choir members learning music. Value-priced.
SKU: WD.080689459771
UPC: 080689459771.
Christy and Daniel Semsen, celebrated writers and creators of innovative, best-selling musicals for children's choir are back, and they're at it again! Their latest adventure, Back to the Cross, will take your Kids Choir on an inventive, fun-filled, rousing romp through time, discovering the message of the Cross along the way! A Semsen musical is guaranteed to deliver big on FUN and even bigger on a spiritual message that speaks to each child! In Back to the Cross, the long-awaited sequel to their hit musical, Back to the Manger, we find Norman and our cast of characters embarking on a time-travel excursion relying on the questionable reliability of the H/O-2000 Temporal Displacement Modulator...otherwise known as time travel machine.
SKU: WD.080689458774
UPC: 080689458774.
SKU: WD.679143059321
UPC: 679143059321.
SKU: WD.080689460777
UPC: 080689460777.
SKU: WD.679143059345
UPC: 679143059345.
SKU: WD.080689445774
UPC: 080689445774.
SKU: WD.080689875427
UPC: 080689875427.
SKU: WD.080689523090
UPC: 080689523090.
SKU: WD.080689917127
UPC: 080689917127.
SKU: WD.679143059383
UPC: 679143059383.
SKU: WD.679143059291
UPC: 679143059291.
SKU: WD.679143059352
UPC: 679143059352.
SKU: WD.679143059338
UPC: 679143059338.
SKU: WD.679143059314
UPC: 679143059314.
SKU: WD.080689446771
UPC: 080689446771.
SKU: CF.CM9608
ISBN 9781491154304. UPC: 680160912803. 6.875 x 10.5 inches. Key: E major. English. Alfred, Lord Tennyson (1809-1892).
The beauty in Alfred, Lord Tennysons poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 5764, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.The beauty in Alfred, Lord Tennysonas poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m.A 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word adeepa in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word adarka in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word aembark,a which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57a64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word awhen.a Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.The beauty in Alfred, Lord Tennyson's poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57-64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.The beauty in Alfred, Lord Tennyson's poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57-64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.The beauty in Alfred, Lord Tennyson’s poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word “deep” in m. 27 gives another instance of text painting.Take advantage of the minor second suspension on the word “dark” in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word “embark,” which is to be an ascent to Heaven.The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57–64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word “when.”Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter.I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it.~Jamey Ray.
SKU: BT.9781408192771
ISBN 9781408192771.
Get Set! Piano Pieces Book 1 is an exciting new collection of pieces by Heather Hammond and Karen Marshall, arranged and written specially for the twenty-first century child.Get Set! PianoPieces Book 1 follows and supplements the tried and tested progression of Get Set! Piano Tutor Book 1. It includes favourites like Alice the camel, Little bird, Hot cross buns, We wish you a Merry Christmas andengaging new pieces from jigs to jazz featuring wriggly caterpillars and scary pirates. Many of the pieces have straightforward teacher duet parts to encourage ensemble playing from the start.The book isattractivelylaid out and fully illustrated, with quizzes and crosswords to reinforce learning.
SKU: BT.MUSAM1011626
ISBN 9781785582554. English.
This updated Kids edition of the bestselling Uke'n Play Ukulele series will get young beginners strumming, singing and playing easy songs that only feature 3 chords. Written by professional player and educator Mike Jackson , the book features his unique instant play method, some simple songs that are familiar to all children, together with downloadable play-along audio. The book opens with how to tune up, before detailing Jackson 's innovative instant play method, which kids are guaranteed to love. Once they've mastered this, Uke'n Play Ukulele For Kids teaches 25 simple songs that are instantly-recognisable and well-known. The first few songs use justone chord, before introducing two more. Each features chord diagrams, lyrics and chord symbols, helping children learn to play the Ukulele by practising strumming the chords and getting used to finger positions, while also playing fun tunes. Songs include Row, Row, Row Your Boat, The Lion Sleeps Tonight, Jingle Bells , and many more. The accompanying audio downloads will help you tune up, get familiar with the songs, then play along with a full backing band. Some songs also feature Mike 's handy hints so learning the Uke goes as smoothly as possible. Uke'n Play Supa Easy Ukulele is a fantastic resource for the classroom, or other groups of young beginners. Featuring valuable advice for introducing children to music through the Ukulele, the book will enable them to start making music straight away. With well-known songs like My Darling Clementine and Michael Finnegan , this is a beginner's instant play method for kids that truly does work. Mike Jackson is a professional Ukulele player and multi-instrumentalist who has sold over 250,000 albums and performed extensively across Australia and the rest of the world.
SKU: CF.YAS176
ISBN 9781491146569. UPC: 680160904068. 9 x 12 inches. Key: G major.
This triumphant work by composer Alan Lee Silva will be a perfect selection for your next contest or festival performance. Atlantic Crossing contains all the signature flowing lines and warm harmonies that have made Silva's music so popular and fresh.A joyous journey across the ocean begins in the opening measures, featuring triumphant violins and violas and accented cellos and basses. After the celebratory introduction, Atlantic Crossing comes down in dynamics and transitions to the lyrical A melody in the violins (m. 9) and continues with an AAB form.The violas take over with the flowing B-theme in m. 17 as the rest of the ensemble accompanies the tune with lush harmonies at a lower dynamic. A two-measure build in mm. 24-25 with ascending violins leads back to a reprise of the powerful introductory statement where the ensemble plays full-out with precise articulations and accents. A two-measure interlude in mm. 34-35 slows the energy down to return to the legato A-theme in the violins and violas. Violas carry the B-theme once again in m. 44 with syncopated and accented answer motifs in the violins. The key center shifts at m. 53, and the violins play the melody in a legato interpretationof the introductory theme. The rest of the group plays their accompaniment figures smoothly and expressively underneath. After the molto ritardando at m. 61, the piece returns to the original key center of G. From there the group plays with driving energy as before in the introduction to the final punctuated note in m. 76.
About Carl Fischer Young String Orchestra Series
This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
