The composer says: Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee?s (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: ?In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.? Over the last couple of years I moved back to Jelly Roll Morton?s city: New Orleans, home of my adolescence and reacquainted myself with the tinges of Spanish in its rich musical heritage. One of these pieces was the Mardi Gras Mambo, an iconic song frequently played during Mardi Gras and, in David Newman?s reworking of the lyrics, at the New Orleans Saints football games as the Super Bowl Mambo. Uncited sources on both Wikipedia and Essortment say the word Mambo means ?conversation with the gods? in Kikongo, the language spoken by Central African slaves taken to Cuba where it became the name for a musical form and a dance style that developed originally in Cuba in the able hands of Cachao?s (Bassist Orestes Lopez) tune: Danzon Mambo. This rhythmic style became famous in the 1950?s following its use in dance bands in Mexico and through New Orleans to the United States. The infectiousness of the New Orleans re-interpretation of the Mambo?s ostinato bass line and the reaction of people who are readily moved to dance when they hear it spoke to me of dance and celebration. This led me to choose some of this piece?s characteristics and title for this piece: Mambo for MO. As we have progressed on the instrument, some of us may have encountered the four-chord descending minor chord progression known as the Andalusian cadence: i - VII - VI - V in many different genres and guises. After all, it appears in Ray Charles? Hit the Road, Jack, the verse on Good Vibrations by The Beach Boys, Walk, Don?t Run by The Ventures, Runaway by Del Shannon and in that great work arranged and embraced by the Guitar: J.S. Bach?s Chaconne from the Partita in D minor for solo violin, BWV 1004. This bass line derived from a Latin American musical style as reinterpreted in New Orleans, a chord progression that evokes the Flamenco Music of Spain, and my impressions of the sinuous lines of people dancing the Second Line in the streets of New Orleans at Mardi Gras led me to this synthesis as a tribute to a man who has contributed so much in his lifelong efforts for the guitar, its history and lore on the occasion of his birthday! Happy Birthday, Matanya! Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare?s Twelfth Night, and played incidental music for their production of Bertold Brecht?s The Good Woman of Sichuan. He has performed Carulli?s Guitar Concerto in A, Leonard Bernstein?s West Side Story and Marvin Hamlish?s A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony?s co-production of George Gershwin?s Opera Porgy and Bess.

Górecki's Church Songs, based on melodies from Rev Jan Siedlecki's ?piewniki Ko?cielne ('church songbooks'), were composed in 1986. This edition is based on the PWM edition of 2013, which was produced with the assistance of Anna Górecka and Miko?aj Górecki. A special feature of the Boosey publications is the new, alternative Latin sung text by Edward Tambling, which will be attractive to the many choirs who do not wish to sing in Polish. The Latin text is carefully crafted to fit Górecki's score and is both poetic and sensitive to the devotional aspect of the songs. English translations from the Polish are also included, for reference only.The three publications present the songs for sacred use according to devotional subject-matter. In concert performances the songs, or a selection of them, may be performed in any order and combination. Vol 1 contains six songs in praise of the Blessed Virgin Mary. The seven songs in vol 2 take the themes of Good Friday, the Crucifixion, The Cross of Christ and the Resurrection. Vol 3 contains seven songs in praise of St Joseph, St Anne and St Nicholas, the Blessed Sacrament, the Trinity and the Black Madonna of Cz?stochowa. / Choeur Mixte (SATB) A Cappella

Here is the feel-good anthem of the season. This traditional Latin praise song is an infectious change of pace for your worship celebrations. Incorporating call and response techniques this festive call to praise can also involvethe congregation in the fun. Includes both English and Spanish lyrics. Add the Latin percussion parts or use the LiteTrax CD for an over-the-top effect.

A good example of MacMillan’s highly resourceful writing for young voices this energetic and enterprising work gives the Latin 'Te Deum' words to a choir of beginner singers and the Lakota chant to a three-part choir of treble/soprano voices. Flute and bells support the choirs without merely doubling and the piano part colourfully echoes the vocal lines. MacMillan’s often-used vocal ornamentation is much in evidence here and the piece is challenging but not difficult. It is an ideal vehicle for young singers who will enjoy working through the rhythmic groupings and getting to grips with singing quick scales and tuning triadic passages. Thebeginners (who are also given simpler forms of the ornament) will also find the involvement with their more experienced counterparts exciting and motivating. Helpful notes by Doreen Rao in the front of the score give hints about how to approach teaching this music to young singers in an imaginative and enjoyable way. For treble voices in three parts treble voices in unison flute tubular bells and piano. Latin and English.

Tunes for Beginning Improvisers - Drum Chart Supplement (3-Horn Edition). Par HALL ALAN. Make The Real Easy Book come alive for your drum students! Complete drum charts and instructional videos for each song, as well as a primer for many styles of contemporary drumming. Complete drum charts for each tune. A variety of notation styles are used to reflect what drummers may encounter professionally. Parts simple enough for beginning players; but which can easily be expanded upon by advanced players. Access to a complete set of play through videos for each song. Each drum chart includes figures for the harmony, background and shout chorus sections of the arrangements. Additional videos and study guides for particular drumming topics like: the '2-Feel', 'Elvin Jones' style comping, basic set-ups and fills, Latin Jazz drum grooves, etc. Easy, but varied parts give the drum student a good start in learning a variety of jazz drumming styles, from '2-feel' to 'Samba' to 'Funk'. Suggested simplified grooves, and basic fills are included with many tunes for easy reference. Developed and road-tested for years at the Stanford Jazz Workshop's summer jazz camps. It works! Each drum part, though written in a given style, can easily be used to catch the same figures in different styles. Perfect for individual students of all ages, as well as jazz combos. The easiest tunes from Horace Silver, Eddie Harris, Freddie Hubbard, Red Garland, Cannonball Adderley, Sonny Rollins, Cedar Walton, Wes Montgomery and more! Get yourself — or your beginning jazz combo — sounding good right away with these drum parts tightly written to musically enhance the 3-horn arrangements. / Date parution : 2021-12-09/ Recueil / Batterie

Piano reduction with solo part-In 1947 Aaron Copland accepted a commission from Benny Goodman ‘The King Of Swing’ for a piece for solo Clarinet and Orchestra. Copland always wary of repeating himself welcomed the challenge of composing a Clarinet concerto – ‘it might stimulate some fresh ideas’. He knew from the start that a bow to jazz was called for and he hoped also to demonstrate the lyrical qualities of the Clarinet. Dedicated to Goodman the Concerto for Clarinet was finished by the end of 1948. Clarinettists were soon welcoming this new virtuoso piece and it has since become a standard in the Orchestral repertoire.The concerto consists of two movements played back-to-back connected by a Clarinet cadenza. The dreamy and melodic first movement is followed by a free rondo dominated by melodic Latin American jazz themes and is resolved in the end with an elaborate coda in C major that finishes off with a Clarinet glissando – or 'smear' in jazz lingo. Originally written for Clarinet and String Orchestra with Harp and Piano in this edition Concerto for Clarinet is arranged for Clarinet with Piano accompaniment by the composer. Along the published version with the changes requested by Benny Goodman ossias from the original 1948 manuscript are included as well. Comes with a separate insert of the Clarinet score.

It’s time to bring some Caribbean mambo style to your next performance with Mambo Jambo! Rhythm parts have been carefully notated to help your ensemble achieve an authentic Latin groove. You can open this one up for as many soloists as you would like. Optional added percussion includes bongos vibraslap and guiro. Plenty of teaching opportunities and the musicians will even get to shout a good Mambo Jambo or two before this one is over!

Christmas Cantata (Sinfonia Sacra) the most famous piece of Daniel Pinkham composed in 1957 is a church composition for Chorus Double Brass and Organ. Written in Latin. Accessible to good high-school and college singers the opening statement is sung by the whole SATB chorus followed by the Allegro section which is rhythmically quite complicated. The middle section is sung by Sopranos and Altos while the Rondo which is part of the final part is sung by the whole SATB its verses being interpreted by the different groups.Daniel Pinkham (1923-2006) is an American composer organist and Harpsichordist. Most ofhis compositions were related to church music and his best known works are the Christmas Advent and Wedding Cantatas.

D'abord présenté dans la comédie musicale de Broadway Lady Be Good, ce hit Gershwin a été couvert par Rosemary Clooney, Michael Feinstein, The Four Tops, et beaucoup plus. Disposition d'excitation de Mark comprend effectivement tout de rythme latin Swing! / Choeur SSA

Melodic and musically rewarding with a Latin text that applies best to the Lenten season especially Good Friday this would also sound impressive in a concert venue. Well worth the work!

Geoffrey Burgon (1941-2010) was a British composer best known for his film and television scores such as Tinker Tailor Soldier Spy Brideshead Revisited and Monty Python’s Life of Brian. He studied Trumpetand Composition at the Guildhall and spent the early part of his career as a successful Jazz musician.Worlde's Blisse was written in 1971 and first performed at that year's Little Missendon Festival. Itis a setting of a medieval Poem in Latin and English scored for Oboe and Countertenor and based on a medieval chant. Suitable for services on or near Good Friday or as a recital item.

From the Jean Ashworth bartle choral series for treble voices. The series offers two versions of this well loved piece: this one (in the_x000D_key of a-flat) is the easier one and can be used with smaller choirs_x000D_if a good soloist child or adult is used. The other in the key of a_x000D_(HMC1378) can be sung in three parts throughout. Both provide the _x000D_opportunity to sing pure latin vowels within an easy musical phrase_x000D_ and develop a free and spinning head tone.

Dennis Shrock edited this fifteenth century piece with words (in Latin) from the Song of Solomon for the Choral Tradition Series. It is fairly easy and makes for a good concert piece.

Par MIRANDA LIN-MANUEL. It was really fun to make an arrangement on these three great melodies from Encanto! Here, the band will be able to work with latin rhythms, syncopation (which doesn't rush) and with possible solo elements on the melody. Use your imagination and feel free to re-arrange to let your musicians shine. (Example: bar 27 and onwards can be performed as a duet) All three songs can be played separately. They have different degrees of difficulty and if the band lack the ability to perform the last melody, you can easily stop before that. 1. 'We don't talk about Bruno' (1-55) benefits greatly from having a Guiro saying 'go-ap tsh tsh'. This piece can be stopped by playing to the end of bar 54. If you want to play this piece only, you can easily extend it, by repeating from 27, perhaps with other soloists? 2. 'Surface Pressure' (55-116) If the cowbell-part is not played, percussionists have to play these two weak beats in 56. The groove for drum set is also very important from 68. Also, that you get a proper swing feeling on 84- 98 and that the drummer in 99 really goes back to even eighths. If you want to extend this piece, you may repeat from 84. If you want to end after this song, you can insert a ritardando 2 bars before 116 and preferably add a quarter note high G, then a quarter rest, and then a darker G. Another possibility is to repeat from 84 and then stop at the first note in 100. 3. 'The Family Madrigal' can of course also be played alone. This is truly a song that gets people clapping! I have chosen to make the opening rhythm a little easier by adding an eighth note to the one (120) If the ensemble has a very good understanding of rhythm, it can be skipped, but then the only tone in the phrase that is on the pulse beats will be the quarter note in the second measure. You can start the piece straight on bar 120 without the drum intro. If you want to extend this piece, you can repeat 152 – 199. (Or you can go all the way back to 136) If you do so, you can perhaps skip the first house at the end, if the audience is not standing on the chairs dancing Have fun performing this arrangement! The Movie Encanto is a 2021 American computer-animated musical fantasy comedy film produced by Walt Disney Animation Studios. It follows a multigenerational Colombian family, the Madrigals, led by a matriarch (Botero) whose children and grandchildren—except for Mirabel Madrigal (Beatriz)—receive magical gifts from a miracle that helps them serve the people in their rural community called the Encanto. When Mirabel learns that the family is losing their magic, she sets out to find out what is happening, and save her family and their magical house. Encanto premiered at the El Capitan Theatre in Los Angeles on November 3, 2021 The film received critical acclaim for its characterization, music, animation, voice acting, emotional depth, and cultural fidelity; reviews named magic realism and transgenerational trauma as the film's core concepts. Publications have described Encanto as a cultural phenomenon. The film was nominated for three awards at the 94th Academy Awards, winning Best Animated Feature, and received numerous other accolades. The film's soundtrack also became a success, reaching number one on the US Billboard 200 and UK Compilation Albums charts; 'We Don't Talk About Bruno' and 'Surface Pressure' were its two most successful songs, with the former topping both the US Billboard Hot 100 and UK Singles Chart for multiple weeks. Bjørn Morten Kjærnes / Date parution : 2023-07-31/ Répertoire / Ensemble Flexible à 7 Parties

Traditional Good Friday text (English and Latin) _x000D_Begins with a dirge-like adagio then a soprano solo introduces the lovely melody._x000D_Finally the soprano section as a whole whispers the melody over the dirge ostinato. Very effective!