SKU: JK.01943
UPC: 093285019430.
Hymn- Alongs makes playing hymns and primary songs a blast! It is available for almost any instrument and is designed to be simple enough for developing musicians and fun for those advancing in music. The Accompaniment Book features beautiful, yet simple arrangments for piano, guitar, and voice. Instrumental books are sold separately and can be played together in any combination. All instrument books include a melody part; treble instruments also have a duet part, and bass instruments also include a bass part. See all Hymn-Alongs Vol. 1 products Songs included in this Hymn-Alongs Vol. 1: Come, Follow Me I Love to See the Temple Choose the Right I Am a Child of God Count Your Blessings Called to Serve Joseph Smith's First Prayer Beautiful Savior We Thank Thee O God for a Prophet I'm Trying to Be Like Jesus Families Can Be Together Forever He Sent His Son My Heavenly Father Loves Me Composer: Various Arranger: Brent Jorgensen Difficulty: Easy.
SKU: JK.01939
UPC: 093285019393.
SKU: JK.01942
UPC: 093285019423.
SKU: JK.01938
UPC: 093285019386.
SKU: JK.01954
UPC: 093285019546.
SKU: JK.01955
UPC: 093285019553.
SKU: JK.01940
UPC: 093285019409.
SKU: JK.01956
UPC: 093285019560.
SKU: JK.01947
UPC: 093285019478.
SKU: JK.01953
UPC: 093285019539.
SKU: JK.01968
UPC: 093285019683.
Hymn- Alongs makes playing hymns and primary songs a blast! It is available for almost any instrument and is designed to be simple enough for developing musicians and fun for those advancing in music. The arrangments in this volume are perfect for home and can be appropriate for sacred settings. The Accompaniment Book features beautiful, yet simple arrangments for piano, guitar, and voice. Instrumental books are sold separately and can be played together in any combination. All instrument books include a melody part; treble instruments also have a duet part, and bass instruments also include a bass part. *The Ukulele book includes tabs for melody, chord symbols, chord diagrams, and lyrics to the music. See all Hymn-Alongs Vol. 1 products Songs included in this Hymn-Alongs Vol. 1: Come, Follow Me I Love to See the Temple Choose the Right I Am a Child of God Count Your Blessings Called to Serve Joseph Smith's First Prayer Beautiful Savior We Thank Thee O God for a Prophet I'm Trying to Be Like Jesus Families Can Be Together Forever He Sent His Son My Heavenly Father Loves Me Composer: Various Arranger: Brent Jorgensen Difficulty: Easy.
SKU: JK.01952
UPC: 093285019522.
Hymn- Alongs makes playing hymns and primary songs a blast! It is available for almost any instrument and is designed to be simple enough for developing musicians and fun for those advancing in music. The Accompaniment Book features beautiful, yet simple arrangments for piano, guitar, and voice. Instrumental books are sold separately and can be played together in any combination. All instrument books include a melody part; treble instruments also have a duet part, and bass instruments also include a bass part. *The guitar book includes tabs for melody, chord symbols, chord diagrams, and lyrics to the music. See all Hymn-Alongs Vol. 1 products Songs included in this Hymn-Alongs Vol. 1: Come, Follow Me I Love to See the Temple Choose the Right I Am a Child of God Count Your Blessings Called to Serve Joseph Smith's First Prayer Beautiful Savior We Thank Thee O God for a Prophet I'm Trying to Be Like Jesus Families Can Be Together Forever He Sent His Son My Heavenly Father Loves Me Composer: Various Arranger: Brent Jorgensen Difficulty: Easy.
SKU: BT.CMP-0028-95-020
As the title suggests, Brian Connery’s energetic, three-part overture for a festive occasion will show off your band in several contrasting sections. With its cheerful melodies, fast and lively tempos, and festive character, it is great for a concert or festival opener. The composer uses quickly changing dynamics, interesting melodies, and driving rhythms to create excitement. In FESTIVO, the energy never stops until the piece is over! Festivo est une pièce d’ouverture dont les mélodies joyeuses et les tempi dynamiques célèbrent le caractère brillant et pétillant d’un événement festif. Pour mener son œuvre vers un finale plein de panache, le compositeur développe des mélodies tourbillonnantes et des rythmes dynamiques sur des changements soudains de nuances.
SKU: BT.CMP-0028-95-120
SKU: SU.50600763
Voice & Piano Composed: 1919 - 1939 Published by: Seesaw Music Includes: Vier Lieder (1919) 1. Vöglein Schwermut (Morgenstern), 2. Septembermorgen (Mörike), 3. Der Tag Klingt Ab (Nietzsche), 4. Das Lied des Zwergen (George) Sieben Lieder (1921-1923) 1. Breit’ In der Stille den Geist (George), 2. Wandrers Nachtlied I (Goethe), 3. Wandrers Nachtlied II (Goethe), 4. Gesang Weylas (Mörike), 5. Lilie der Auen (George), 6. Marienlied (Novalis), 7. In Tausend Formen (Goethe) Letzte Lieder (1928-1939) In der Frühe (Mörike), Als Mir Dein Lied Erklang (Brentano), Abendständchen (Brentano), Abbitte (Hölderlin), Ermunterung (Hölderlin), Sommerbild (Hebbel), Herbstbild (Hebbel).
SKU: PR.362034230
ISBN 9781598069556. UPC: 680160624225. Letter inches. English.
When the Texas Choral Consort asked Welcher to write a short prologue to Haydn's The Creation, his first reaction was that Haydn already presents Chaos in his introductory movement. As he thought about it, Welcher began envisioning a truer void to precede Haydn's depiction of Chaos within the scope of 18th-century classical style - quoting some of Haydn's themes and showing human voices and inhuman sounds in a kind of pre-creation melange of color, mood, and atmosphere. Welcher accepted this challenge with the proviso that his prologue would lead directly into Haydn's masterpiece without stopping, and certainly without applause in between. Scored for mixed chorus and Haydn's instrumentation, Without Form and Void is a dramatically fresh yet pragmatic enhancement to deepen any performance of Haydn's The Creation. Orchestral score and parts are available on rental.When Brent Baldwin asked me to consider writing a short prologue to THE CREATION, my first response was “Why?â€Â THE CREATION already contains a prologue; it’s called “Representation of Chaosâ€, and it’s Haydn’s way of showing the formless universe. How could a new piece do anything but get in the way? But the more I thought about it, the more it made sense. The Age of Enlightenment’s idea of “Chaos†was just extended chromaticism, no more than Bach used (in fact, Bach went further).Perhaps there might be a way to use the full resources of the modern orchestra (or at least, a Haydn-sized orchestra) and the modern chorus to really present a cosmic soup of unborn musical atoms, just waiting for Haydn’s sure touch to animate them. Perhaps it could even quote some of Haydn’s themes before he knew them himself, and also show human voices and inhuman sounds in a kind of pre-creation mélange of color, mood, and atmosphere. So I accepted the challenge, with the proviso that my new piece not be treated as some kind of “overtureâ€, but would instead be allowed to lead directly into Haydn’s masterpiece without stopping, and certainly without applause. I crafted this five minute piece to begin with a kind of “music of the spheres†universe-hum, created by tuned wine glasses and violin harmonics. The chorus enters very soon after, with the opening words of Genesis whispered simultaneously in as many languages as can be found in a chorus. The first two minutes of my work are all about unborn human voices and unfocused planetary sounds, gradually becoming more and more “coherent†until we finally hear actual pitches, melodies, and words. Three of Haydn’s melodies will be heard, to be specific, but not in the way he will present them an hour from now. It’s almost as if we are listening inside the womb of the universe, looking for a faint heartbeat of worlds, animals, and people to come. At the end of the piece, the chorus finally finds its voice with a single word: “God!â€, and the orchestra finally finds its own pulse as well. The unstoppable desire for birth must now be answered, and it is----by Haydn’s marvelous oratorio. I am not a religious man in any traditional sense. Neither was Haydn, nor Mozart, nor Beethoven. But all of them, as well as I, share in what is now called a humanistic view of how things came to be, how life in its many forms developed on this planet, and how Man became the recorder of history. The gospel according to John begins with a parody of Genesis: “In the beginning was the Word, and the Word was with God, and the Word was God.â€Â  I love that phrase, and it’s in that spirit that I offer my humble “opener†to the finest work of one of the greatest composers Western music has ever known. My piece is not supposed to sound like Haydn. It’s supposed to sound like a giant palette, on which a composer in 1798 might find more outrageous colors than his era would permit…but which, I hope, he would have been delighted to hear.
