Come, Let Us Anew

This book contains over 80 holiday songs arranged to be easily playable on ukulele. Ranging from classic carols such as 'Silent Night? and 'O Christmas Tree,? to popular tunes like 'Have Yourself a Merry Little Christmas? and 'Santa Claus Is Comin' to Town,? right on through music from yuletide movies such as How the Grinch Stole Christmas! and National Lampoon's Christmas Vacation, this book is perfect for holiday get-togethers and sing-alongs! Titles: Angels from the Realms of Glory * Angels We Have Heard on High * As Lately We Watched * Auld Lang Syne * Away in a Manger (Murray) * Away in a Manger (Cradle Song) * The Babe * A Babe Is Born in Bethlehem * Believe (from The Polar Express) * The Bells of Christmas * Boar's Head Carol * Born Is He, This Holy Child * Bright and Joyful Is the Morn * Bring a Torch, Jeannette, Isabella * Buon Natale (Means Merry Christmas to You) * Carol of the Birds * Celebrate Me Home * A Child This Day Is Born * Christ Was Born on Christmas Day * Christmas Comes Anew * Christmas Vacation (from National Lampoon's Christmas Vacation) * The Coventry Carol * Dance of the Sugar Plum Fairy * Deck the Halls * Emmanuel * The First Noel * The Friendly Beasts * Gesu Bambino (The Infant Jesus) * The Gift * Go Tell It on the Mountain * God Rest Ye Merry, Gentlemen * Good Christian Men, Rejoice * Good King Wenceslas * A Great and Mighty Wonder * Hallelujah Chorus (from The Messiah) * Happy Xmas (War Is Over) * Hark! The Herald Angels Sing * Have Yourself a Merry Little Christmas * Here We Come A-Wassailing * The Holly and the Ivy * Holy Night, Peaceful Night * Hush, My Babe, Lie Still and Slumber * I Heard the Bells on Christmas Day * I Saw Three Ships * I Wonder as I Wander * I'll Be Home for Christmas * In the Bleak Midwinter * It Came Upon the Midnight Clear * Jesu, Joy of Man's Desiring * Jingle Bells * Jolly Old Saint Nicholas * Joy to the World * The Little Drummer Boy * March of the Toys * Mary Had a Baby * Mele Kalikimaka * Noel! Noel! * O Christmas Tree (O Tannenbaum) * O Come All Ye Faithful (Adeste Fideles) * O Come, Little Children * O Come, O Come Emmanuel * O Holy Night (Cantique de Noel) * O Little Town of Bethlehem * On Christmas Night All Christians Sing * Once in Royal David's City * Patapan * Santa Claus Is Comin' to Town * Silent Night * Simple Gifts * Sleigh Ride * Stand Beneath the Mistletoe * Star of the East * The Twelve Days of Christmas * Ukrainian Carol (Carol of the Bells) * Up on the Housetop * We Three Kings of Orient Are * We Wish You a Merry Christmas * Welcome Christmas (from How the Grinch Stole Christmas!) * What Child Is This? * When Christmas Comes to Town (from The Polar Express) * You're a Mean One, Mr. Grinch (from How the Grinch Stole Christmas!). / Ukulélé

This dynamic gospel song from the mid-60s enchants anew in this refreshing soulful arrangement. Choirs will enjoy the rhythmic energy that the accompaniment provides an the easily learned choral writing. It's useful for worship that celebrates the history life and faith of the church. This dynamic gospel song from the mid-60s enchants anew in this refreshing soulful arrangement. Choirs will enjoy the rhythmic energy that the accompaniment provides an the easily learned choral writing. It's useful for worship that celebrates the history life and faith of the church.

Classical Guitar Tunes - English Folk Songs. This book presents 42 English folk songs arranged for the intermediate classic guitarist in standard notation with phrase and dynamic markings plus light fingering. The collection includes popular melodies like Sprig of Thyme, Seventeen Come Sunday, and Blow the Wind Southerly, but also lesser known but no less beautiful tunes like Cupid the Pretty Ploughboy, Dabbling in the Dew and Saucy Sailor. All the arrangements present the basic tune faithfully and simply before offering more elaborate and sophisticated variations suitable for concert performance. Without compromising their sophistication, these polyphonic arrangements are elegant and idiomatic to the guitar, all but devoid of excessive physical demands; even barré chords are kept to a minimum so the player can relax and focus on tone and interpretation. The primary objective of this collection is to draw attention to these deserving melodies, some of which are now rarely heard. Longtime fans of the genre will recognize a few songs once performed by folk-rock groups like Steeleye Span and The Fairport Convention, here presented anew for the solo classic guitar. ?It?s an excellent collection - good to play for pleasure, good for learning and consolidating rhythm, good for sight-reading. Just marvelous. It should meet a lot of needs. Gilbert Biberian. ?These are very accessible arrangements of 42 English folk tunes, some of which are familiar and many others which deserve to be better known. They are all tuneful and have interesting harmonies and rhythms in arrangements which will be well within the reach of intermediate guitarists. These fine settings would be useful pieces for a teacher looking for supplementary material and also for the performer looking for unhackneyed repertoire. They are thoughtfully presented with good fingering and phrasing, with idiomatic guitar writing and interesting harmonies. Congratulations to Peter Worley for presenting this compendium of gems from a lesser known tradition.? Gerald Garcia

Come to the Fair was taught and sung extensively throughout the twentieth century in England and abroad having been first published in 1917. It has a charming tune whose allargando at the beginning of each Chorus is memorableand catchy as is the refrain ‘Heigh! Ho! Come to the Fair!’ It has been recorded several times including a version by Kiri te Kanewa.Easthope Martin was an English composer prolific in his production of light music primarily for the Voice. He wrote three sets of Songs of the Fair from which this tune comes and it has been extensively arranged for various Choral voicing. Poet Helen Taylor is famous for having written the text for popularsong Bless This House.

Excerpted from What Sweeter Music this seasonal evergreen shines anew in a creative arrangement designed for success. Thoughtful directors will find this artfully rendered gem a splendid addition to their traditional Lessons and Carols services and holiday concerts. Each section of the choir will discover expressive interest and the accompaniment reflects the heart and hand of a pianist. A welcome addition to the Christmas canon!

Uses: General Christ the Shepherd memorial and funeral servicesScripture: Psalm 23One of this celebrated writing teams' best this anthem is a lyric re-telling of the great Shepherd's Psalm. Newinsightful lyrics bring Psalm 23 into our everyday walk of faith and remind us of God's great provision for our need. An anthem of deep power and meaning this piece is ideal for Christ the Shepherd Sunday or memorial services. Anew SAB version is a welcome addition to the already best-selling SATB octavo and it is also included as a vocal solo in the collection I Sing to the Lord. Available separately: SATB SAB Duration: ca. 3:06.

Uses: General Christ the Shepherd memorial and funeral servicesScripture: Psalm 23One of this celebrated writing teams' best this anthem is a lyric re-telling of the great Shepherd's Psalm. Newinsightful lyrics bring Psalm 23 into our everyday walk of faith and remind us of God's great provision for our need. An anthem of deep power and meaning this piece is ideal for Christ the Shepherd Sunday or memorial services. Anew SAB version is a welcome addition to the already best-selling SATB octavo and it is also included as a vocal solo in the collection I Sing to the Lord.

Piano Sonata C major K. 309 (284b) Editor: Ernst Herttrich Fingering: Hans-Martin Theopold I wish to do it to reflect the character of Mad:selle Rose, Mozart replied when asked how he intended to set out the Andante of his Sonata in C major. In autumn 1777 he had got to know Rosina Cannabich in Mannheim and during her lessons immediately introduced her to the Sonata K. 309 that he had composed for her. Indeed, in December 1777 according to her teacher she was already able to perform it excellently. So that a great many other pupils might follow in her footsteps, we are now publishing this small gem that shows Mozart‘s great skill in composing for the piano as a single edition with a new preface by the editor; it was previously only available in the complete volumes (HN 1 and 3). FIRST MOVEMENT The first movement of the C major Sonata K 309 is a model teaching sonata form structure. With sonata forms, as with Bach fugues, no formal dogmas underlie the process of composition, but each sonata varies anew a basic principle. For Mozart, this entailed strict adherence to certain fundamental patterns without his creative freedom. In his sonata movements in major keys, for example he favoured a distinct second subject in the dominant as most contemporary composers did. Haydn, on the other hand, reveled in experiment at this point. A brief analysis may help to demonstrate Mozart's standard sonata allegro form and the first movement of it is an ideal example for such an investigation. The first subject is a distinctive, marcato opening followed by a five-bar response. The falling fourth and rising sixth of the opening is one of Mozart's favourite motifs, his common melodic device. He often uses it in the minor as well as the major, and many of his themes start with this motif (e.g. the second movement of the A major Sonata K 331, the Adagio in B minor K 540, and subjects in the Symphonies K 114, 124, 319/II and 551/II). The seven measures of the main theme are repeated, slightly varied. Measures 15 to 21 conclude the first subject group with an answering phrase (3+3 bars). The transition consists of new material and then, in measure 35 (after two measures of preparation comes a second cantabile theme, in the dominant (G major) comprising 2x4 bars, which is also repeated and proceeds to a spirited closing theme (concluding group) using passage-work (m. 43) and incorporating a delightful diminuation of measures 35 36 in measure 45. The exposition ends with a codetta of five bars. The development presents the opening motif first in g minor, and then the various ideas of the first subject are worked out. With this procedure Mozart is keeping much more closely to textbook principles than he usually does. Two further statements of the opening motif lead back to the recapitulation in measure 94. The second subject, now in the tonic, has surprisingly changed place with its accompaniment. The opening is recalled again in an effectively assertive coda. SECOND MOVEMENT The second movement of this sonata is an introspective Andante un poco adagio. In a letter Mozart stated his desire to make this Andante match the character of the young pianist Rosa Cannabich for whom he wrote it: ...she is a sweet, pretty girl, just like the andante. For her age she is sensible and level-headed; she is serious, and doesn't talk too much, though what she says is pleasing and sympathetic. THIRD MOVEMENT An elegant and smoothly flowing Rondo of unusually large proportions concludes this Sonata. Paul and Eva Badura-Skoda