God Will Lead Us On!

'Your Heart Will Lead You Home' from Walt Disney's The Tigger Movie. Words and music by Richard Sherman Robert Sherman and Kenny Loggins. Arranged by Ed Lojeski for 2-Part SA with piano accompaniment.

The American Experience Series continues its entertaining and educational history lessons with this delightful piece by Darla Eshelman. J. Paul Williams leads the series with his clever texts and Ms. Eshelman's setting offers ajoyful way to learn about one of our country's most colorful First Ladies. Rehearsal CD and Rehearsal CD 10-Pak available.

Become the featured soloist on twenty specially recorded arrangements of some fantastic hit songs from past and present!Part of the hugely successful Take The Lead series this bumper edition gives you the opportunity to learn songs as diverse as Angels by Robbie Williams and Gershwin\'s Fascinating Rhythm arranged as accessible Trumpet solos with Guitar chord symbols. The music is complete with two CDs - a set of full professionally recorded backing tracks and a disc of demonstration performances that will help you learn the songs.Take The Lead is an integrated series for Alto Sax Clarinet Flute Trumpet and Piano. In eachedition all the songs are in the same concert pitch key so the different instruments can play together - ideal for school groups and ensembles.

Tired of the same old arrangements? Want to give your pupils something simple yet rewarding to play? Carol Barratt creates easy pieces that are creative idiomatic simple yet rewarding to play and that will really get pupils listening and performing musically right from the beginning. The pieces in Bravo! Flute take the student progressively through the early grades. They consist mainly of original material with a few arrangements too - some well-known some more unusual. These pieces are intended to encourage the student to perform - rather than merely play - whenever the opportunity arises. All too often the early stages of learning instrument can be a solitaryprocess. Wherever possible these pieces should be played with their keyboard accompaniments. Hearing the keyboard parts will lead to an awareness and appreciation of different musical styles and a sense of harmony not just melody. In addition playing with an accompaniment develops the pupil's ability to maintain his or her own part while listening to another. And of course it's fun! Each collection is scrupulously edited for the instrument by a leading performer.

The  Really Easy Piano: Christmas  songbook features 24 festive classics arranged for easy Piano also including song lyrics and chord symbols.  The cream of Christmas tunes are included in this book with all of those classic pop songs that herald Christmas in November and December. These are the serenades toeveryone's favourite season written by such giants of music as Elvis Presley John Lennon Paul McCartney and Elton John. Arranged for easy Piano now these yuletide hits can be played andenjoyed by beginners as well as more seasoned players. Songs like Last Christmas Fairytale of New York and Merry Xmas Everybody will lead the singalongs after Christmas dinner and IWish It Could Be Christmas Everyday will bring everyone together with a common desire. Thearrangements in this songbook will be suitable for a beginners of all ages as they are all simplified from the original. The book would also be ideal for more advanced beginners and intermediate players to use as sight-reading

I Will Lead You Home-(I Will Lead You Home). This Amy Grant original is exquisite! With simple yet elegant harmonies and a wonderful expressive text you will create an unforgettable concert effect. Available: SATB SAB 2-Part ShowTrax CD. Performance Time: Approx. 3:20.

An Easy Guide To The Fingerboard-Anyone can solo on Guitar! Marcy Marxer's DVD shows you that as long as you know your basic chords you can start playing melodies and improvising lead parts. This easy-to-use method brings all of the frets notes and strings into clear focus providing a useful roadmap to the guitar fingerboard.Marxer teaches you scales both across the neck and along the string allowing you to visualise your path along the guitar finding melodies and intervals within chord shapes. She introduces simple tunes including Frere Jacques and Will The Circle Be Unbroken and shows how the adding of passing notes bends and slides will lead to your first bluesy solo ideas. There's evenan explanation of the intricacies of the CAGED tuning system.

I Give You The End Of A Golden String was commissioned in 2013 by the Royal Philharmonic Society/Britten-Pears Foundation to celebrate the centenary of the birth of Benjamin Brittenand the bicentenary of thefoundation of the Royal Philharmonic Society.The piece was first performed on 8th June 2013 by the Britten Sinfonia conducted by Ryan Wigglesworth.'My aim when I began this piece was to create a long length ofstring music out of a single strand of melody.While experimenting at the beginning shaping and extending a melody in many possible directions I cameacross William Blake???s lines???I give you the end of a goldenstring;Only wind it into a ball It will lead you in at Heaven???s gate Built in Jerusalem???s wall???and this became my working method winding a single tune around itself so that it gradually formed itselfinto amuch richer more complex texture. The process happens three times producing the equivalent of acontinuous three-movement concerto.The ???first movement??? is engendered by two solo violas (the melody at the beginning alreadyentwined witha slightly alternative version of itself). The ???slow movement??? (a more extended more decorated developmentof the opening tune) is introduced by a solo cello (soon winding itself into a quartet of celli). The fast???finale??? led by two solo violins focuses on decorations within the melody rolling out ribbons of (Britten-like') thirds.' - Judith WeirSuggested minimum strings: 8.6.4.4.2 players

2nd Edition. This sensational second edition has been updated with music from all of the Disney hits of the last five years, such as The Hunchback of Notre Dame, Hercules, Mulan, Tarzan and Toy Story I and II. Features melody lines, lyrics and chord symbols for more than 240 beloved songs, including: The Bare Necessities ° Be Our Guest ° Beauty and the Beast ° Bibbidi-Bobbidi-Boo ° Can You Feel the Love Tonight ° Circle of Life ° Colors of the Wind ° A Dream Is a Wish Your Heart Makes ° Go the Distance ° It's a Small World ° Mickey Mouse March ° Part of Your World ° Reflection ° Someday My Prince Will Come ° A Spoonful of Sugar ° Supercalifragilisticexpialidocious ° Under the Sea ° When You Wish Upon a Star ° A Whole New World ° Winnie the Pooh ° You'll Be in My Heart ° You've Got a Friend in Me ° Zip-A-Dee-Doo-Dah ° and many more magical Disney tunes! Includes two alphabetical indexes: one by song title and one by production. Spiral-bound.

Full Score-The Persian traditional music (called the Dastgah Segah) is based on intervals made of three quarter-tones and natural whole-tones. Segah has no interval in common with the European/ Western equal-temperament tuning. This lack of common intervalsbetween the Segah mode and the equal-temperament tuning will lead to a cognitive dissonance if this mode is set against the equal-temperament system. My goal has been to elaborate on the innate tensions that exists between the two interval systemsand use it as a symbol for the existing political and cultural tensions between the Persian and the Western cultures. The piece consists of two Persian traditional instruments the Ney (Persian vertical bamboo flute) and the Kamanche (Persian spikefiddle) as the musical representatives of the Persian culture set against the Western orchestra as the musical representative of the Western culture. A small ensemble of Western instruments consisting of a harp and string quintet accompanies thePersian instruments. The harp is tuned to the Segah intervals and the string quintet plays in the Segah mode. The orchestra is performing inthe Western equal- temperament tuning. From the very first bars of the main section of the piece confusionsand misunderstandings arise. The orchestra being unable to play in Segah or understand the mode becomes more and more agitated. Musical tensions between the soloists and the orchestra lead to musical confrontations and finally to musicalviolence. The orchestra becomes extremely violent and militaristic and tries to suppress the soloists efforts to express their musical thoughts. In the midst of all these confusions and cultural misunderstandings musical connections and attractionsstart to take place. The orchestra and the soloists find themselves musically attracted to each other and start imitating each others musical phrases. Cognitive dissonances start to be gradually transformed to musical dialogues symbolizing thegradual replacement of the clash of civilizations with the dialogue of civilizations. Segah was written for Khosrow and Kian Soltani and premiered at the Segah Festival on January 15 2016.

'When somebody tells me that they wish they could improvise I usually reply 'If you really want to you will'. This may seem quite a hard line to take but if the will to improvise exists there is no reason why anyone with however limited a command of their instrument (or voice) cannot realise their ambition the degree of proficiency attained obviously varying with individual abilities and above all the amount of personal effort. As much time as possible should be allocated to ear-training. There are many cassette courses available on the market - such as the David Burge course (for both perfect and relative pitch development). Also the development ofharmonic knowledge should be on-going and to this end use of a keyboard of some kind is imperative. Don't worry how bad a pianist you are - you can only improve. An improviser draws upon any sources available to enhance his/her vocabulary - a popular song for instance or a Chopin waltz or the modes of Messaien or the pandiatonicism (this being simpler than it sounds) of Stravinsky. It is very healthy to expose yourself to a wide spectrum of music - you will probably find this will lead to the development of other skills such as musical analysis or composition - which of course may well be of material use at times when engagements are thin on the ground and one can turn to arranging or writing a jingle or even a film score. All the pieces in this book have a theme followed by a quasi-improvisational section and a reprise of the theme. If you wish feel free to invent your own improvisation or play the written one or perhaps use the first four bars of the written one as a springboard. Please feel free to imbue these pieces with your personality making alterations and decorations as you feel them.' - Tony Coe