SKU: HL.1136474
ISBN 9781705183250. UPC: 196288113492. 9.0x12.0x0.237 inches.
This one-of-a-kind collection arranged by Fred Sokolow features accessible, must-know songs for anyone ready to start playing lap steel guitar, or any player wanting to expand their repertoire. Each song is presented in a combination of tab, standard notation, chords, and lyrics for the most popular songs lap steel players like to play. This collection features songs in several tunings, including open G, open E and C6, in these genres: country, Hawaiian, Western swing, rock/pop, folk, and blues. It also includes many transcriptions of solos by famous steel players. Songs include: Back in the Saddle Again â?¢ Blue Eyes Crying in the Rain â?¢ Can't Help Falling in Love â?¢ Crazy â?¢ Faded Love â?¢ Happy Trails â?¢ I'm So Lonesome I Could Cry â?¢ Mama Tried â?¢ (Ghost) Riders in the Sky (A Cowboy Legend) â?¢ Together Again â?¢ Waikiki â?¢ Walkin' After Midnight â?¢ Won't You Ride in My Little Red Wagon â?¢ Your Cheatin' Heart â?¢ and more.
About First 50
You've been taking lessons, you've got a few chords under your belt, and you're ready to buy a songbook. Now what? Hal Leonard has the answers in its First 50 series. The First 50 series steers new players in the right direction. These books contain easy to intermediate arrangements for must-know songs. Each arrangement is simple and streamlined, yet still captures the essence of the tune.
SKU: HL.322944
ISBN 9781540070111. UPC: 888680977009. 9.0x12.0x0.165 inches.
If you've been taking Glockenspiel lessons for a while, you're probably eager to learn some familiar songs. The First 50 Songs You Should Play on the Bells/Glockenspiel includes a wide variety of favorite songs, from pop hits and movie themes to folk songs and classical melodies, several of which originally featured bells! Songs include: All of Me • All You Need Is Love • Canon in D • Carnival of Venice • Fight Song • The Fool on the Hill • God Bless America® • The Godfather (Love Theme) • Hallelujah • Happy • Hello • I Will Always Love You • Just Give Me a Reason • Let It Go • Pure Imagination • Roar • Rolling in the Deep • Satin Doll • Shake It Off • Shallow • Stand by Me • Stay with Me • This Is Me • Ukranian Bell Carol • What a Wonderful World • and more.
SKU: AP.36-50105341
ISBN 9798892703062. UPC: 659359602917. English.
Back Home Again in Indiana by James F. Hanley has become a jazz standard over the years and is the perfect vehicle for your band's vocal soloist. It may be played without the vocalist if you wish, with no cuts or substitutions necessary. (3:00).
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: MB.30906M
ISBN 9781513476643. 8.75X11.75 inches.
This solo collection presents 19 iconic melodies from the American traditional song book plus 6 modern original compositions by William Bay, president of Mel Bay Publications; all selections have been arranged in tablature for the 5-string banjo in gDGBD tuning by Catalonian multi-instrumentalist and bluegrass specialist, Llu?s G?mez.Any collection of American ballads would be incomplete without settings of the beautiful melodies penned by Stephen Foster, several of which appear here including Beautiful Dreamer, Darling Nellie Gray, I Dream of Jeanie with the Light Brown Hair, and Hard Times, Come Again No More. Some of these tunes are arranged in uncommon banjo keys, all without retuning the banjo or using a capo. These keys may be challenging at first but will teach you a lot about the banjo fretboard.The authorÃ?s generous preface offers tips on practice, performance and interpretation rarely found in tablature collections such as these, but this book has it all, including online recordings of each arrangement.
SKU: AP.36-50100341
UPC: 659359833182. English.
SKU: KN.42574S
UPC: 822795425741.
Great as a program opener or closer, this hard-driving swinger is punctuated by several spicy half-time funk passages that boost momentum and excitement from start to finish. Strong ensemble writing throughout is contrasted with two open solo sections -- one for brass, one for saxes and/or guitar -- with cued backgrounds. For players with little improvisation experience or confidence, written solos are included for alto, tenor, bari, trumpet and trombone. Duration 5:30. Available in SmartMusic.
SKU: CL.031-2629-00
A new medium tempo swing chart that is terrific for developing bands from the pen of Les Aldrich. Includes several nice duet sections featuring the 1st Alto and 1st Trumpet and lots of outstanding ensemble writing to help younger bands learn the swing concept. Solos sections with backgrounds for the horns are provided and this chart is playable with a limited instrumentation.
SKU: MB.93861
ISBN 9780871666918. UPC: 796279004428. 8.75x11.75 inches.
98 favorite hymns, gospel songs, and spirituals arranged in several different keys for diatonic, cross harp, or chromatic harmonica solo. In notation only. The book will give many hours of playing pleasure to the beginner as well as the advanced performer.
SKU: CL.031-2629-01
SKU: CL.011-3695-01
Oh NO! It’s happened again! Several years ago as the town band prepared their annual holiday concert, somehow the music got mixed up in the folders and upon the downbeat the rest was painful music history. This time the mix-up includes the ranting recitatives and aimless arias from some of the most famous opera tunes of all times. This crazy, mixed-up opera concert is sure to be the hit of your next program!
About C.L. Barnhouse Command Series
The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.
SKU: PR.14440265S
UPC: 680160027910.
The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed. Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler. An annunicatory 'leaping motive' (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force. A five-note motive, usually very deliberate, also keeps recurring like an insistent caller. All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic 'grammar' spoken tends to recall the jazz world of my youth. To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms. The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda. The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like 'call-and-response.' It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani. The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto. All three movements make much use of canonic stretti, similar gestures, and repetition. For example, the climax of movement III's Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed. Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler.An annunicatory ‘leaping motive’ (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force. A five-note motive, usually very deliberate, also keeps recurring like an insistent caller. All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic ‘grammar’ spoken tends to recall the jazz world of my youth.To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms. The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda. The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like ‘call-and-response.’ It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani. The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto.All three movements make much use of canonic stretti, similar gestures, and repetition. For example, the climax of movement III’s Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.
