Reindeer On The Roof is a rocking Christmas tune for two-part voices with piano accompaniment composed by Sally K. Albrecht And Jay Althouse. This is a simple and enjoyable Christmas song that is great fun to perform.

Friends On Our Left And Friends On Our Right is a joyful and spirited song composed by Sally K. Albrecht and arranged for 2-Part Choir with Piano Accompaniment by Jay Althouse.

Here's Sally Albrecht's latest Christmas novelty number rock 'n roll style. A slow intro featuring two optional solos leads into a rockin' reindeer beat.

Develop independent singing and listening skills in your young students with this delightful collection of 41 echo songs. You sing the melody they sing it back. Or take turns assigning different soloists or groups of 'leaders' and 'followers.' Students may also echo the leader provided on the split-track CD. Includes songs in various styles for mornings and afternoons seasons and holidays hellos and good-byes rhymes scales solfege and more. Plus each song has a page full of suggested activities and teaching suggestions. Chord symbols are provided. Grades K-3.

27 Unison Songs for Young Singers-Learn all about animals from A to Z with these 27 adorable unison songs for young singers. From the Absent Minded Alligator to the Zany Zebra young singers will be both tickled and charmed by these informative and whimsical songs. This collection is 100% reproducible and is perfect for both the classroom and the stage! Recommended for grades K-5. 100% reproducible. Suggestions for additional activities and 'About the Animals' information included. Chord symbols included. Can be used as a songbook or a program (approximately 30 minutes).

Performer's Part-A superb and festive Christmas Television Special for Two-Part Voices. Music by various composers script by Jan Steqwart and compiled and edited by Sally K. Albrecht.

The musical appeal of the Blues, as they began to be heard in the early twentieth century, was so infectious that musicians with open minds and ears were drawn to it as soon as they heard it. And that appeal crossed the racial and ethnic divides that characterized American society. So it was, that even before African American guitarists were recorded playing fingerstyle blues guitar, their white neighbors had already begun learning the music?listening to, watching, and imitating the musicians whose music they so admired. And what these white musicians ended up expressing in their own playing and singing was not simply imitation, but their own reconfiguration of what their models did, played in accordance with their own senses of rhythm, phrasing and how to sing the music.In Hillbilly Fingerstyle Blues Guitar, author John Miller offers transcriptions, in tablature and standard notation, of twenty-eight pieces by these white fingerstyle blues players, taken from recordings made in the period 1926?1970. Some of the featured musicians in the book, like Sam McGee, Frank Hutchison, Maybelle Carter, Hobart Smith, and Roscoe Holcomb are pretty well known, but the tunes by more obscure players like Debs Mays, Lake Howard, or Lester McFarland certainly don?t suffer by comparison, and in many instances are spectacular. The pieces have been chosen for variety, too?you?ll encounter pieces played in C, E, and A in standard tuning, as well as songs in Open G, Open D tunings and an exotic offshoot of Open G tuning. Downloadable links to all of the original performances from which the transcriptions were made come with the book, so you can get the sound of the tunes in your head. The musicians in Hillbilly Fingerstyle Blues Guitar gravitated towards the Blues because the music spoke to them so strongly that they felt compelled to make it part of their own musical language. And they did just that. These performances are strong and worthwhile in their own right, but they?ll also show you how you can honor those who have inspired you by singing and playing in your own voice. And that?s an important lesson to learn. Includes access to online audio.
1. Hillbilly Fingerstyle Blues Guitar ? An Introduction
2. Learning the Songs
3. Understanding the Tablature
4. The Songs
5. 1) Knoxville Blues?Sam McGee
6. 2) Easy Rider?Sam McGee
7. 3) Railroad Blues?Sam McGee
8. 4) Sally Long?Sam McGee
9. 5) Fuzzy Rag?Riley Puckett
10. 6) Worried Blues?Frank Hutchison
11. 7) Train That Carried The Girl From Town?Frank Hutchison
12. 8) The Miner?s Blues?Frank Hutchison
13. 9) K. C. Whistle?Lester McFarland
14. 10) John Hardy Was A Desperate Little Man?The Carter Family
15. 11) Johnson City Blues?Clarence Greene
16. 12) Brown Skin Blues?Dick Justice
17. 13) Cocaine?Dick Justice
18. 14) She Lied To Me?Emry Arthur
19. 15) Everyday Dirt?David McCarn
20. 16) Take Them For A Ride?David McCarn
21. 17) Jailhouse Rag?David Miller
22. 18) Match Box Blues?Larry Hensley
23. 19) New Chattanooga Mama?Lake Howard
24. 20) Soap Box Blues?Debs Mays
25. 21) Rabbit Blues?Debs Mays
26. 22) Graveyard Blues?Hobart Smith
27. 23) Railroad Bill?Hobart Smith
28. 24) K. C. Moan?Hobart Smith
29. 25) Mississippi Heavy Water Blues?Roscoe Holcomb
30. 26) Riley And Spencer?Fields Ward
31. 27) Raggin? The Wires?E. C. Ball
32. 28) Ain?t No Grave Can Hold My Body Down?E. C. Ball
33. Appendix?Default Chord Positions
34. ABOUT THE AUTHOR
35. Afterword
36. ACKNOWLEDGEMENTS
/ Partitions variété - pop - rock / Variété internationale / Guitare tablatures / MEL BAY

A stirring text combined with solid choral writing make this an ideal choice for concerts and festivals. Perfect for massed choirs or for any size choir. Starts small builds and then ends quietly: 'I am a small part of the world. Take my hand.' A dramatic choral work full of strength power and determination.

The community we share in the body of Christ is expressed with great sensitivity in this new sacred song. In This Room works as a warm and inviting call to worship. As an anthem it embraces the entire congregation with compassionand mutual respect. A timely choice! Supports: 1 Corinthians 12:27

A triumphant fanfare motive is echoed across the choir before breaking into a joyous refrain, punctuated with rhythmic handclaps. Suitable for concert, festival, and church use, this celebratory choral features optional parts for trumpet and snare drum. / Choeur Mixte (SATB)