How Great Thou Art: Three Hymns for Organ

Alexandre Lagoya once said: 'For one Guitar you can write what the Guitar will allow you to write. For two Guitars you can write what you choose.' While there is a measure of overstatement in this it remains true that themedium of two Guitars allows much greater creative freedom to the composer.There are many kinds of Guitar-duo works- at one extreme the very simple at the other the call for two virtuosi; those in this book inhabit themiddle of this spectrum. They are not in effect accompanied Guitar solos but equal duets in which two players of moderate technical ability converse with one another sharing the lead. This they do without sacrificing musicalinterest.Two of the pieces consist of variations on folk tunes - Shades of Green uses the Irish tune The Next Market Day while Varieties of Scotch is based on the well known Scottish tune YeBanks and Braes. The remaining duet is an affectionate nod in the ragtime direction of Scott Joplin. The two sets of variations are suitable for concert use and Joblinesque is a natural encore piece.

Three arrangements including Ave Verum Corpus and the Lacrimosa from the Requiem.During the year 1771 when Mozart was 15 years old he and his father Leopold were touring Italy which was at that time the most formidable citadel of the music world. In the following four years the young Mozart was received at the homes and villas of Italy's aristocracy. He met the most famous musicians of the time including Niccolo Piccinni operatic rival to Gluck and Padre Martini from whom he was to benefit from studies in counterpoint. He also met many noted male soprano singers and for one the celebrated Venanzio Rauzzini he wrote in 1773 the motet Exsultate Jubilate from whichcomes the well known Alleluia.At the end of his life only 19 years later in Vienna 1791 Mozart was very ill and working on a number of massive works such as the operas The Magic Flute and Titus also the Requiem. Titus was completed in 18 nerve-shattering days as it had to be performed in Prague in September 1791. At its premiere it was a complete flop. This affected the now overworked almost penniless composer's spirit and he returned to Vienna suffering from mental and physical exhaustion. Rest was denied him. The Magic Flute had to be finished for its premier on September 30th 1791. The task of the Requiem still faced him. In this weakened state Mozart thought that he was in fact writing his own requiem reading evil omens into the commissioning of the work. He thought someone had calculated the precise time of his death and was thus troubled with sombre thoughts. He completed the first two of the twelve parts. The next six parts were in an unfinished state and his manuscript ceased at the Lacrimosa. Süssmayer who was working closely with Mozart at the time was given the task of finishing the Requiem.Ave Verum Corpus is also one of his final works. It is a setting of an anonymous hymn written as a motet for Anton Stoll the choirmaster at Baden in June 1791.Mozart was a composer of great genius who

Sing Pop A Cappella is a collection of a cappella arrangements of fantastic pop songs old and new, by renowned teacher, singer and director Gitika Partington. Her arrangements are used by choirs across the UK, and she emphasises that being able to read music is not necessary. Rewarding and enjoyable, Book Three continues her project to bring people together through the power of song.What's great about Gitika Partington's Sing Pop A Cappella series is how she understands that to make great music or to sing a great song, it's not necessary to be able to sight-read. It may be useful, but she has learned that there are other ways to communicate music, namely through ear training, repetition and gesture. Her arrangements, five of which appear in this book, have enabled youth and community choirs to spring up across the country, making singing truly and universally accessible. Included in this book are wonderfully rich a cappella arrangements of Ain't No Sunshine by Bill Withers, Black Is The Colour Of My True Love's Hair, Rick Astley's Never Gonna Give You Up, Adele's Rolling In The Deep and a huge favourite, Sway (Quien Sera). Vocal scores for these innovative and enjoyable arrangements are included in standard notation, although Partington recommends learning by ear as something equally beneficial. To aid with this, the accompanying download card includes five tracks of audio for each song. One features a full performance demonstration while the other four each focus on either soprano, alto, tenor or bass. The easy download of these tracks makes learning efficient and fun, as you are able to listen wherever you are.The great thing about a cappella singing is that it can be done anywhere, with limited resources, with members who don't necessarily have any musical training. Partington has created a book that can be used by a cappella choirs who love pop music that sounds great and will thrill audiences. Sing Pop A Cappella is not just a songbook, though, it also includes an extensive introduction by Partington, as well as performance tips for each song and information on voice care and learning the tunes. It's a personal book for Partington, who is passionate about the power of music to bring people together, and enthusiastic about getting people who wouldn't believe they had the confidence or ability, to sing pop!Sing Pop A Cappella is a brilliant book for choirs of any type or size who would enjoy singing five incredible pop tunes without accompaniment. The fantastic sound of a group of people singing a well-known song in a completely new and interesting way is something that Gitika Partington knows well, and something that she wants to impart to groups across the country. Songs like this were made to be sung, so pick up Book Three and Sing Pop A Cappella! / Choeur Mixte (SATB) Et Piano

Sing Pop A Cappella is a collection of a cappella arrangements of fantastic pop songs old and new by renowned teacher singer and director Gitika Partington. Her arrangements are used by choirs across the UK and she emphasises that being able to read music is not necessary. Rewarding and enjoyable Book Three continues her project to bring people together through the power of song. What's great about Gitika Partington's Sing Pop A Cappella series is how she understands that to make great music or to sing a great song it's not necessary to be able to sight-read. It may be useful but shehas learned that there are other ways to communicate music namely through ear training repetition and gesture. Her arrangements five of which appear in this book have enabled youth and community choirs to spring up across the country making singing truly and universally accessible.  Included in this book are wonderfully rich a cappella arrangements of Ain't No Sunshine by Bill Withers Black Is The Colour Of My True Love's Hair Rick Astley's Never Gonna Give You Up Adele's Rolling In The Deep and a huge favourite Sway (Quien Sera). Vocal scores for these innovative and enjoyable arrangements are included in standard notation although Partington recommends learning by ear as something equally beneficial. To aid with this the accompanying download card includes five tracks of audio for each song. One features a full performance demonstration while the other four each focus on either soprano alto tenor or bass. The easy download of these tracks makes learning efficient and fun as you are able to listen wherever you are. The great thing about a cappella singing is that it can be done anywhere with limited resources with members who don't necessarily have any musical training. Partington has created a

Greatest Hits of 1950-2020. Revisit the biggest hits from each decade with this anthology of pop classics. A short introduction to each decade takes you through the collection where each song is presented for piano, voice and guitar with full lyrics and guitar chord boxes.

Thomas Tomkins: Madrigals in 3 4 5 and 6 parts (1622)Contents:Songs of three parts:Our hasty life away doth postNo more I will thy loveSure there is no god of LoveFond men that do so highly prizeHow great delightLove cease tormentingSongs of four parts:O let me live for true love (the first part)O let me die for true love (the second part)Oyez! Has any found a lad?Weep no more thou sorry Boy (the first part)Yet again as soon revived (the second part)Was ever wretch tormented?Songs of five parts:To the shady woodsToo much I once lamentedCome shepherds sing with meCloris whenas I wooSee see the shepherds' QueenPhyllis now cease to move meWhen David heardPhyllis yet see him dyingFusca in thy starry eyesAdieu ye city-prisoning towersThe fauns and satyrs trippingSongs of six voices:When I observeMusic divineOft did I marleWoe is meIt is my well-beloved's voiceTurn unto the Lord

Mozart?s Requiem has entered the realm of myth. This is surely the best-known of all sacred choral works and is performed all over the world. Now a new version for solo voices chorus and organ allows this legendary masterpiece to be performed without orchestra and thus without strain on the budget. The choral writing has been taken unaltered from the Urtext of the New Mozart Edition while the organ part by Martin Focke adheres strictly to the original orchestral writing. The result is a version as convincing as it is self-contained.Franz Xaver Süssmayr?s additions have been used to complete Mozart?s unfinished original.Self-contained version withorgan instead of orchestraIdeal for church services and concert performancesClear and well-presented organ partThe Bärenreiter Choir & Organ Series presents great choral works in arrangements for soloists choir and organ; no orchestra is needed.The original orchestral parts have been transcribed into easy-to-play organ reductions whereby the contemporary tradition of such arrangements has been taken into consideration. In some cases the original organ versions by the composer were used. The organ parts are presented on three staves. The choir and solo parts always remain true to the original. You need only one edition for soloists singers and organist alike.

The bass recorder brings a deep rich timbre to the recorder ensemble. Nevertheless when beginning with the bass recorder even players who have already mastered one or more instruments of the recorder family face the problem of learning a new clef and feeling at home with an instrument which is different from the other recorders in its shape and handling. The Bass Recorder Workshop is a 'hands-on' tutor which helps players acquire the bass recorder skills necessary for refined ensemble playing step by step. The bass recorder is incorporated into the ensemble from the beginning. The degree of difficulty in the bass line gradually increases in terms of tone quality rhythm andtechnical demands. The Bass Recorder Workshop consists of consecutive volumes with music for three to five voice recorder ensembles as well as exercises and information on the following subjects: o the bass recorder - construction instrument types historical background o technical foundations of bass recorder playing posture fingering sound and articulation o practise and rehearsal techniques intonation in ensemble playing o stylistically diverse ensemble repertoire ranging from medieval to contemporary music The Bass Recorder Workshop offers the possibility of playing the bass line of the ensemble pieces along with the CD included. The audio examples come in two versions: the full versions are complemented by versions without the bass line which can be used to play along with. Beginners who would like to start with the bass as their first recorder instrument should supplement the Bass Recorder Workshop with lessons from a teacher. Learning the bass recorder whilst playing in an ensemble continues in this 3rd volume of Workshop Bassblockflöte. Greater emphasis is placed on the techniques of refining sound quality 2 and 3 part arrangements and playing not only the bass voice but also the middle or even the melodic line. The enclosed CD recorded by the editors Irmhild Beutler

A special method for beginners. First published by Schott in German in 1990. The translation and adaption into English has been made by Peter Bowman. Three Volumes for the descant recorder which advance in small steps and include many playful elements suitable for both group and individual lessons. ? Discover the adventure of learning the recorder? Make real progress through games: breathing? A mixture of lively new and traditional tunes? Three supplementary tune books each with a sheet of stickers? Teacher's commentary? Join Dotty-do-a-lot and her friends in the exciting world of music Fun and Games with the Recorder is a comprehensiverecorder tutor covering all stages from the first notes of the beginner up to the point of professional instruction for budding performers. Although the recorder is often the instrument with which children will make their first musical discoveries it is also an instrument of the highest artistic merit. This series of books tries to link these two extremes providing a carefully planned pathway between first playful contact with the instrument and professional recorder playing.The three Tutor Books are suitable for use both with small groups and for individual tuition. Progress is methodical and is made in small steps placing great value on consistent work with breathing sound production and the development of rhythmic security.In the Tutor books we speak directly to the child and provide carefully planned precisely formulated exercises. We recognise that some children learning the recorder will not yet be able to read but hope that this will provide an opportunity for a parent or teacher to become involved in the learning process. Each step in this process should be fun and accessible to both the parent/teacher and the child.Tutor Book 1 is intended for children from about six years of age. Previous musical experience is not essential but undoubtedly would prove useful. It concentrates on the notes B A g E1 C2 and D2 leaving sufficient time

Scheibe’s three sonatas for flute (or violin) and obbligato harpsichord were published by Haffner in the late 1750’s but were probably composed much earlier; they contain a significant quantity of elaborate imitative writing that is out of character with Scheibe’s later music. Although rooted in the same tradition as the sonatas for flute and obbligato harpsichord by J.S. Bach C.P.E Bach and composers at Berlin court of Frederick the Great these are more substantial works each having four movements in the traditional slow-fast-slow-fast scheme. For the most part they are trio sonatas the right hand of the harpsichord acting as the secondtreble voice but several movements feature idiomatic writing for the keyboard. Also interesting is the large amount of ornamentation called for particularly in the harpsichord part. While Scheibe disapproved of the excessive embellishments that Bach actually wrote into his melody lines these sonatas are nonetheless heavily ornamented albeit through the insertion of notational symbols; in addition to turns and mordents Scheibe uses no less than three different trill symbols!