SKU: HL.35027753
UPC: 884088539009. 5x5 inches. J. Paul Williams/Joseph M. Martin/Douglas Nolan.
Uses: Communion, Maundy Thursday, Holy Week, generalScripture: Luke 22:19The upper room is the scene for this tender song for communion or Maundy Thursday. A winsome solo creates intimacy and the rich choral response is an emotional call to purpose for the banquet of grace. Available for the first time with its orchestration and individual track, this pull-out from the celebrated cantata Song of the Shadows is essential repertoire for the sanctuary choir.
SKU: HL.49003005
ISBN 9780901938787. UPC: 073999922370. 6.5x10.0x0.214 inches. English.
Alleluia (Mozart) * Alleluia (Boyce) * Cedit Hiems Eminus * Christ is Risen Again * Death and Darkness * Early Morning * Easter Eggs * Easter Morning * Good Christian Men * Good Joseph had a Garden * Hail, Easter Bright * Hilariter * I Danced in the Morning * Jesus Christ is Risen Today * Jesus, Life and Comfort Given * Let the Merry Church Bells Ring * Let the Song be Begun * Let us Sing this Easter Morning * Lord of the Dance * Now the Green Blade Riseth * O Sons and Daughters * Ring the Bell, Ring it Well * Slowly Winter Fades Away * The Angel rolles the Stone away * The Drums of Calvary * The Glory of our King * The Lamb's High Banquet * The Whole Bright World * They were Beating as he dragged himself * The World itself keeps Easter day * This joyful Eastertide * Tomorrow shall be my dancing day * While Christ lay dead * Ye choirs of New Jerusalem.
SKU: GI.G-007589
If you or someone you know struggles with forgiveness and absolution, then this album of Father Jim's preaching and music is for you. Father Jim takes us on a personal journey to be free with forgiveness. His message is also for anyone who wants to explore the meaning of forgiveness.
SKU: JK.00014
Psalm 38:18.
Arranged for mixed chorus (SATB) and piano. Soprano high note: F.Composer: Lynn S. Lund Lyricist: Mabel Jones Gabbott Difficulty: Medium / medium acc. Performance time: 4:20Reference: Psalm 38:18.
SKU: BT.RSK200075
ISBN 9781789360110. English.
Learn to play rock and pop with Rockschool. These Specially written arrangements develop the skills and techniques you need to help you achieve your musical goals. Rockschool Classics Drums Grade 1 contains eight of the biggestrock tracks from the past five decades arranged for you to play in your Grade 1 exam. You can choose two pieces from Rockschool Classics to play in your Grade Exam or three to play in your Performance Certificate.
Featuring:
Plus:
SKU: HL.2500189
ISBN 9781575603339. UPC: 073999196351. 9x12 inches. Joe Charupakorn Book/Online Audio.
Discover the basics of playing bass as you learn hands-on how to play more than 35 Metallica songs. Features instruction by Joe Charupakorn and audio tracks with complete demonstrations of every lesson. Songs include: Battery ? Blackened ? The Call of Ktulu ? Damage, Inc. ? Enter Sandman ? Eye of the Beholder ? Fade to Black ? Fuel ? Hero of the Day ? Mama Said ? Master of Puppets ? One ? Ride the Lightning ? Seek and Destroy ? The Unforgiven ? Until It Sleeps ? and more. Audio is accessed online using the unique code inside the book and can be streamed or downloaded. The audio files include PLAYBACK , a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.
About Hal Leonard Guitar Method
The world-famous Hal Leonard Guitar Method is preferred by teachers because it makes them more effective while making their job easier. Students enjoy its easy-to-follow format that gives them a solid music education while letting them play songs right away. The Hal Leonard Guitar Method provides a complete system to playing success which includes three levels of instruction and a myriad of play-along supplemental songbooks that let students play great songs while they're still learning to play.
SKU: KJ.WB542
UPC: 084027053430.
Using chamber music textures contrasting with passionate tutti passages to exemplify the ideas of honor and forgiveness, Mark Camphouse has composed a strong centerpiece for your next concert or festival.
SKU: KJ.WB542F
UPC: 084027053454.
SKU: CF.CAS114F
ISBN 9781491151709. UPC: 680160909209. 9 x 12 inches.
Canarios is a movement taken from the Suite Espanola for guitar by Gaspar Sanz, a leading composer of Spanish Baroque music.? Deborah Baker Monday presents this delightful arrangement in D major which engages all sections of the ensemble in the interplay between 6/8 and 3/4.? The rich and resonant texture makes this piece a great concert or festival selection.
Gaspar Sanz lived from ca.16401710. He was a leading composer of music from the Baroque period in Spain, but it is his guitar music which has given him the most attention. He wrote three collections of pieces as an Instruction for guitar and they include about 90 pieces which are part of the guitar repertory.
The Suite Espanola has become popular as a performance piece in the modern guitar world. It contains numerous movements of which Canarios is one of the most popular. Many guitar concerts include a selection of these wonderful dance movements:
1 Espanoletas
Gaspar Sanz lived from ca.1640a1710. He was a leading composer of music from the Baroque period in Spain, but it is his guitar music which has given him the most attention. He wrote three collections of pieces as an Instruction for guitar and they include about 90 pieces which are part of the guitar repertory.
A A 1 EspaA+-oletas
Gaspar Sanz lived from ca.1640-1710. He was a leading composer of music from the Baroque period in Spain, but it is his guitar music which has given him the most attention. He wrote three collections of pieces as an Instruction for guitar and they include about 90 pieces which are part of the guitar repertory.
About Carl Fischer Concert String Orchestra Series
This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: CF.CAS114
ISBN 9781491151334. UPC: 680160908837. 9 x 12 inches. Key: D major.
SKU: HL.14034403
English.
Twelve To Remember, Twelve To Come for Trombone and Ensemble was composed by Peter Bruun in 2001. Commisioned by Jesper Juul Sorensen Written for Jesper Juul Sorensen and Athelas Sinfonietta Copenhagen, provided with funds from the Danish State Art Foundation. Programme note: The trombone concerto has been given the slightly cryptic title Twelve to remember twelve to come. The title refers to twelve irregular beats that are struck at the start of the piece by the percussionist on three clanging bottles. The figure 12 later becomes the most important building-block in the rhythm of the piece, and the twelve beats from the beginning return right at the end. The concerto waswritten for the trombone virtuoso Jesper Juul Sorensen, originally for trombone and large chamber ensemble. It was given its first performance in 2001 by Jesper Juul Sorensen and Athelas Sinfonietta Copenhagen. Later the piece was reworked for trombone and orchestra - a version given its first performance by Jesper Juul Sorensen and the Aarhus Symphony Orchestra in 2003. Peter Bruun. Twelve To Remember, Twelve To Come for Trombone and Ensemble was composed by Peter Bruun in 2001.Commisioned by Jesper Juul Sorensen Written for Jesper Juul Sorensen and Athelas Sinfonietta Copenhagen, provided with funds from the Danish State Art Foundation.Programme note:The trombone concerto has been given the slightly cryptic title Twelve to remember twelve to come. The title refers to twelve irregular beats that are struck at the start of the piece by the percussionist on three clanging bottles. The figure 12 later becomes the most important building-block in the rhythm of the piece, and the twelve beats fromthe beginning return right at the end. The concerto was written for the trombone virtuoso Jesper Juul Sorensen, originally for trombone and large chamber ensemble. It was given its first performance in 2001 by Jesper Juul Sorensen and Athelas Sinfonietta Copenhagen. Later the piece was reworked for trombone and orchestra - a version given its first performance by Jesper Juul Sorensen and the Aarhus Symphony Orchestra in 2003.Peter Bruun.
SKU: CF.CPS254
ISBN 9781491159811. UPC: 680160918409.
PROGRAM NOTES As We Search: Legend of the Brown Mountain Lights is inspired by the many ghost stories that have come from the mysterious occurrence of lights on Brown Mountain (Burke County, North Carolina). These mysterious phenomena appear during evenings in autumn. Many have seen the lights, but the exact cause remains a mystery. The origin of the lights has inspired numerous legends. As We Search: Legend of the Brown Mountain Lights focuses on one legend from the nineteenth century. After a local woman went missing, though murder was suspected, villagers engaged in a search of the mountain. Having never been found, it is said the search continues, and ghostly echoes of the search lights can still be seen on Brown Mountain to this day. NOTES TO CONDUCTOR The duration of the composition is five minutes at the marked tempo. Careful attention should be given to articulations, dynamic changes and phrasing throughout the work. The entire work is based on the idea first stated by the bells in m. 12. Each time the idea is restated, stronger development occurs around it building to m. 74. Attention should be given to the dissonance that resolves in mm. 5-6, 9-10, 17-18, 21-22, 41-42, 45-46, 76-77 and 80-81. The climax of the piece is m. 81, representing the moment the villagers think they have found the lost woman. Measure 82 to the end continues a fading trend as if people are forgetting about the legend of the Brown Mountain Lights. Measure 110 carrying into m. 111 is meant to be unresolved. Even though the legend has faded over time, the lights still exist As We Search..PROGRAM NOTESAs We Search: Legend of the “Brown Mountain Lights” is inspired by the many ghost stories that have come from the mysterious occurrence of lights on Brown Mountain (Burke County, North Carolina). These mysterious phenomena appear during evenings in autumn. Many have seen the lights, but the exact cause remains a mystery.The origin of the lights has inspired numerous legends. As We Search: Legend of the “Brown Mountain Lights” focuses on one legend from the nineteenth century. After a local woman went missing, though murder was suspected, villagers engaged in a search of the mountain. Having never been found, it is said the search continues, and ghostly echoes of the search lights can still be seen on Brown Mountain to this day. NOTES TO CONDUCTORThe duration of the composition is five minutes at the marked tempo. Careful attention should be given to articulations, dynamic changes and phrasing throughout the work.The entire work is based on the idea first stated by the bells in m. 12. Each time the idea is restated, stronger development occurs around it building to m. 74. Attention should be given to the dissonance that resolves in mm. 5–6, 9–10, 17–18, 21–22, 41–42, 45–46, 76–77 and 80–81.The climax of the piece is m. 81, representing the moment the villagers think they have found the lost woman.Measure 82 to the end continues a fading trend as if people are forgetting about the legend of the Brown Mountain Lights.Measure 110 carrying into m. 111 is meant to be unresolved. Even though the legend has faded over time, the lights still exist “As We Search.” .
SKU: CF.FAS27
ISBN 9780825854835. UPC: 798408054830. 8.5 X 11 inches. Key: D major.
The title depicts the uplifting nature of the piece that inspires young players to have confidence and respect while living with character and integrity. The music is characterized by strong melodic intervals of fourths and fifths and dynamic contrasts, a Larry Clark signature that has made his music so popular. In addition, every player is an important part of the music. This is a perfect showpiece for developing groups for concerts or festivals.As a former teacher I always tried to use the experience of playing in an ensemble to teach students about being good people first b having confidence, being respectful, living with character and integrity. I choose to write music with titles that will stimulate students to strive for this high standard and I have tried to write pieces that will somehow musically depict these values. Integrity is one such piece. I hope you will find the main theme to be uplifting and with musical integrity, but within the reach of developing students. My themes usually are characterized by strong melodic intervals of fourths and fifths and this piece is no exception. It is also my goal when writing music for younger students to provide every section in the ensemble a chance to play important melodic material at some point in the piece. In my humble opinion, if students are given music they like to play they will want to practice it over and over again. The tempo markings and bowings indicated are only there as a guide and should be adjusted to the needs of your students. It has been my pleasure to have the opportunity to write this piece. I hope that you and your students find it useful for your program. LARRY CLARK Lakeland, Florida 2004.As a former teacher I always tried to use the experience of playing in an ensemble to teach students about being good people first b having confidence, being respectful, living with character and integrity. I choose to write music with titles that will stimulate students to strive for this high standard and I have tried to write pieces that will somehow musically depict these values.A Integrity is one such piece. I hope you will find the main theme to be uplifting and with musical integrity, but within the reach of developing students. My themes usually are characterized by strong melodic intervals of fourths and fifths and this piece is no exception. It is also my goal when writing music for younger students to provide every section in the ensemble a chance to play important melodic material at some point in the piece. In my humble opinion, if students are given music they like to play they will want to practice it over and over again. The tempo markings and bowings indicated are only there as a guide and should be adjusted to the needs of your students. It has been my pleasure to have the opportunity to write this piece. I hope that you and your students find it useful for your program. LARRY CLARK Lakeland, Florida 2004.As a former teacher I always tried to use the experience of playing in an ensemble to teach students about being good people first b having confidence, being respectful, living with character and integrity. I choose to write music with titles that will stimulate students to strive for this high standard and I have tried to write pieces that will somehow musically depict these values. Integrity is one such piece. I hope you will find the main theme to be uplifting and with musical integrity, but within the reach of developing students. My themes usually are characterized by strong melodic intervals of fourths and fifths and this piece is no exception. It is also my goal when writing music for younger students to provide every section in the ensemble a chance to play important melodic material at some point in the piece. In my humble opinion, if students are given music they like to play they will want to practice it over and over again. The tempo markings and bowings indicated are only there as a guide and should be adjusted to the needs of your students. It has been my pleasure to have the opportunity to write this piece. I hope that you and your students find it useful for your program. LARRY CLARK Lakeland, Florida 2004.As a former teacher I always tried to use the experience of playing in an ensemble to teach students about being good people first b having confidence, being respectful, living with character and integrity. I choose to write music with titles that will stimulate students to strive for this high standard and I have tried to write pieces that will somehow musically depict these values. Integrity is one such piece.I hope you will find the main theme to be uplifting and with musical integrity, but within the reach of developing students. My themes usually are characterized by strong melodic intervals of fourths and fifths and this piece is no exception. It is also my goal when writing music for younger students to provide every section in the ensemble a chance to play important melodic material at some point in the piece. In my humble opinion, if students are given music they like to play they will want to practice it over and over again.The tempo markings and bowings indicated are only there as a guide and should be adjusted to the needs of your students.It has been my pleasure to have the opportunity to write this piece. I hope that you and your students find it useful for your program.LARRY CLARKLakeland, Florida 2004.
