Prepare ye the way of the Lord

This Advent anthem is a youthful and cheerful challenge to be ready for the coming Savior. Scored for SAB voices this piece is quickly learned and will fit into a variety of service situations. A great call to worship or generaluse anthem as well with accompaniment. “Prepare the Way of the Lord” is a vibrant and energetic song of expectation for Advent.

A collection of useful service music that is rewarding to the pianist-turned organist as well as the more technically proficient and of course to those who worship. Written on the two-stave format.Contents:1. Morning Song2. In Heavenly Love Abiding3. Jesus Thou Joy Of Loving Hearts ('Rockingham')4. I Will Sing Unto The Lord5. Berceuse6. Cortege Nuptial7. Arietta8. Fanfare9. Meditation10. The Lord My Pasture Will Prepare ('St. Petersburg')11. The Faithful Shepherd12. Elegy13. Upon The Cross Of Calvary ('Marian')14. Alleluia15. What A Friend We Have In Jesus ('Friend')16. Rise Up O Men Of God ('Festal Song')17. On Wings Of Hope18. Postlude For A Festive Occasion19. Great God To Thee My Evening Song ('Hazel')20. Eventide

13 vocal selections from the perennial favorite including the songs: All Good Gifts · By My Side · Day by Day · Learn Your Lessons Well · O Bless the Lord My Soul · Prepare Ye (The Way of the Lord) · and more.

The wizarding community has shunned Harry Potter and Hogwarts’ Headmaster Albus Dumbledore who claim that Lord Voldemort has regained a body and has been restored to full power. They are instead influenced by the propaganda of The Daily Prophet and the intentional ignorance of the Minister of Magic Cornelius Fudge. Fudge appoints a new Hogwarts Defence Against the Dark Arts teacher Dolores Umbridge who refuses to allow them to discuss the return of Voldemort. In defiance the students create Dumbledore's Army with Harry as teacher to prepare his schoolmates in case a battle with Voldemort ensues. This book of piano solos featuring themes from the latestfilm includes a section of colour photographs of scenes and images of the film. This fifth instalment of the Harry Potter novels features a colourful and inspiring score by Nicholas Hooper a British film and television composer. He has scored the award-winning BBC productions Land of the Tiger and Andes to Amazon as well as the TV movies The Tichborne Claimant My Family and Other Animals and The Girl in the Cafe among others. Hooper won a BAFTA Award for Original Score in 2004 for The Young Visitors.

In preparing for publication the 1935 orchestral version of Britten's Te Deum in C it became clear that there were a number of discrepancies between the manuscript and the original 193 vocal score. Some of these were minor:different articulation and dynamic markings something Britten was later very fussy about but perhaps left unchanged on proof because of his relative inexperience at this stage of his career with the processes of musicpublishing. Others were more important: wrong pedal notes for example which Britten failed to notice on proof and which have been perpetuated in performances and recordings for nearly seventy years. These have been corrected inthe new edition of the vocal score and in the orchestral score (Britten clearly used the published vocal score to prepare his orchestral version). The two versions have been made consistent in other details - rehearsal cues andbar numbers for example - since Britten intended choristers to use the vocal score to perform the orchestral version. This would have been an easy task for these is little discrepancy in essential details between versions (arare departure occurs in bars 53 to 56 where the works 'Lord God of Sabaoth' are unaccompanied in the orchestral version but doubled by Organ in the original). Sustained Organ chords are often filled out with arpeggiated stringwriting while the spacing of chords is frequently much wider in the string version with melodies transposed into different octaves. Although harmony in both versions is identical voice leading is sometimes altered in the latterto make it better suited to the idioms of the instruments concerned.So although in essence the two versions are the same the soundworld explored in each is quite distinct. Britten's orchestral version should neither beviewed as an occasional piece nor considered solely a liturgical work like many of his choral pieces from the 1930s and 1940s it is equally at home in church and concert hall.

Uses: General Concert Easter AdventScripture: Isaiah 40:5; Revelation 5:13Raw power characterizes the opening of this festival anthem from the Cathedral Series. Massive chords sweep forwardbringing in fanfare-like choral acclamations of praise. Use of a solo reed adds shine and the martial like theme is a confident call to worship and invitation to prepare the way of the Lord with praise. The church was made forsong and the middle contrasting section celebrates this legacy of praise by increasing intensity until breaking forth with jubilant alleluias. A final canon caps this majestic offering!

Britten's Te Deum In C is arranged for Treble (Soprano) solo SATB choir and Organ accompaniment.In preparing for publication the 1935 orchestral version of Britten's Te Deum in C it became clearthat there were a number of discrepancies between the manuscript and the original 193 vocal score. Some of these were minor: different articulation and dynamic markings something Britten was later very fussy about but perhapsleft unchanged on proof because of his relative inexperience at this stage of his career with the processes of music publishing. Others were more important: wrong pedal notes for example which Britten failed to notice on proof and which have been perpetuated in performances and recordings for nearly seventy years. These have been corrected in the new edition of the vocal score and in the orchestral score (Britten clearly used the published vocal scoreto prepare his orchestral version).The two versions have been made consistent in other details - rehearsal cues and bar numbers for example - since Britten intended choristers to use the vocal score to perform theorchestral version. This would have been an easy task for these is little discrepancy in essential details between versions (a rare departure occurs in bars 53 to 56 where the works 'Lord God of Sabaoth' are unaccompanied in theorchestral version but doubled by Organ in the original). Sustained Organ chords are often filled out with arpeggiated string writing while the spacing of chords is frequently much wider in the string version with melodiestransposed into different octaves.Although harmony in both versions is identical voice leading is sometimes altered in the latter to make it better suited to the idioms of the instruments concerned. So although inessence the two versions are the same the soundworld explored in each is quite distinct. Britten's orchestral version should neither be viewed as an occasional piece nor considered solely a liturgical work like many of his

Par . Learn some of Berklee's favorite, most popular guitar music. This collection includes some of the most popular songs and repertoire taught by the Berklee Guitar Department faculty. The music is taught and performed in their Guitar Sessions summer programs, global initiatives, online, and on campus. By learning this music, you will experience a diversity of styles: classic rock, blues, country, singer/songwriter, jazz, jam band, funk, progressive rock, funk, classical, and contemporary improvisation/microtonal music. Each piece is selected and introduced by some of Berklee's most popular faculty members. This collection will help you become a well-rounded player and prepare you to participate in Berklee's guitar programs. Notation varies, depending on the style of the selection, and may include traditional notation, tablature, and chord diagrams. 20 songs, including: Apache (Jerry Lorden) · Freight Train (Elizabeth Cotten) · Hey Hey (Big Bill Broonzy) · Two Bones and a Pick (T-Bone Walker) · We Gather Together (16th Century Dutch song) · The Weight (Robbie Robertson) · Wildwood Flower (Maybelle Carter) · You've Got to Hide Your Love Away (Lennon/McCartney) · and more. / Date parution : 2023-08-12/ Recueil / Guitare

Par MITZNER ROB. Drumming in a Band: Stuff you Can Use, by Rob Mitzner, can prepare drummers to play almost any kind of gig. The target audience is drummers with 2 or more years of playing experience who want to learn to play in a band. All of the material presented comes from the author's real-world experience in recording sessions and band situations. Based around ?Groove Workshops? that include 53 bass/drums groove play-alongs, styles explored include rock, drum'n'bass, R

Par SCHWARTZ STEPHEN. Sélections de piano faciles de comédie musicale 1970 de Stephen Schwartz, Godspell - une série de paraboles, provenant principalement de l'Evangile de Matthieu. Celles-ci sont ensuite entremêlés avec une variété de musique moderne définie principalement aux paroles des hymnes traditionnels, avec la passion du Christ traités brièvement près de l'extrémité de la performance. / Niveau : Facile / Recueil / Piano

Par SCHWARTZ STEPHEN. Pièces vocales de comédie musicale 1970 de Stephen Schwartz, Godspell - une série de paraboles, provenant principalement de l'Evangile de Matthieu. Celles-ci sont ensuite entremêlés avec une variété de musique moderne définie principalement aux paroles des hymnes traditionnels, avec la passion du Christ traités brièvement près de l'extrémité de la performance./ Recueil / Chant