Whether you just want to do your Adele impression in front of the bathroom mirror or practise for an audition this is the songbook for you! Six great Adele hits in sheet music form complete withlyrics Piano accompaniments and chord symbols - Plus a CD with 'soundalike' backing tracks!A lyrics-only version of each song is also included for quick reference. So take a deep breath and get ready to step into thespotlight! Songs include: Chasing Pavements Hometown Glory Make You Feel My Love Rolling In The Deep Set Fire To The Rain Someone Like You.

Compiled by Janie L. Hendrix-Jimi Hendrix was such an extraordinary guitarist it can be easy to forget that just as much passion soul and precision went into his lyrics. Inspired by Bob Dylan Hendrix was a fearless lyrical innovator willing to let his imagination guide him to landscapes hitherto unexplored within the realm of pop music.From the existential euphoria of ?I Don't Love Today? to the elusive beauty of ?Little Wing? to the psychedelic blues of ?My Friend? to the otherworldly ?1983 (A Merman I Should Turn to Be) ? his lyrics remain among the greatest in the pantheon of rock infused with the same inventiveness virtuosity and courage that informed his guitarplaying.Here are all the words to the Hendrix classics you've rocked along to for years as well as unpublished songs from Valleys of Neptune and other hitherto undiscovered sources. Jimi Hendrix: The Ultimate Lyrics Book compiled by Janie L. Hendrix is extraordinarily personal. It includes numerous examples of Jimi's handwritten lyrics often scribbled on hotel stationery as well as photos of Jimi to accompany every song. Much of this material has never been seen before.Jimi Hendrix: The Ultimate Lyrics Book will give you a glimpse of the lyricist behind the songs a songwriter whose words were just as searing as his solos.

This beloved hymn, often referred to as the Black national anthem, was first performed in 1900. Widely considered to be a treasure, it is frequently chosen to celebrate important moments in gatherings and commemorations of the African American Civil Rights Movement. In this adaptation, Heather Sorenson and Rev. James Ward have collaborated in an effort that highlights the cooperation of black and white composers working together to honor the message of social justice. A new second verse brings the hymn into our current quest for diversity and equality so that all choirs can have the opportunity to build unity from faith and music.

Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera.” On the same scale as chamber music is to the symphony, it is rather the other way of talking onstage. The movable apparatus permits sophisticated voice-leading. A large ensemble demands simple conception to achieve the complexity it perhaps intends; this can be formulated more sharply and nuanced in a chamber ensemble. Therefore it is the subject which this type of presentation must sustain – or, better, provoke. Büchner’s Lenz is a description of the conditions within a process of collapse, moments of destruction already occurred but not yet accepted, evident in the points of contact with the environment. And it was those points of contact which Michael Fröhling attempted to reconstruct onstage. Lenz’s distraught state is always the same; only the proximity of the environment to that distraught state grows and ebbs. The musical consequence An hour of extreme chamber music results from this description: always bound for the main character – actually, not a commentary, but the main character himself as a multilayered level of action. Although Lenz acts on many levels – or tries to or believes he is – he has no room to manoeuvre. That is why he is also tightly interwoven in his sonic surroundings; the voices which only he hears are just as much himself as the two men with whom he foregathers (the liberal pragmatist Oberlin and the alert merchant who always “does the right thing” in every situation) – they evoke responses which he deeply desires. Omnipresent Friederike is just as much his inner world as Nature is – Nature, which he can no longer perceive unless it is personified, enlivened or dead. Therefore, the music’s task is both to motivate the “situation” (atmospherically) and to be the psychological constant (via a network of entangled references per se) in an action as it is played out. The compositional process December 1977 to June 1978 – a period identical to the stepwise understanding of an existence as that of Jakob Lenz. Yet the more the historical figure became precisely attendant in my intellect in terms of data and atmosphere, the more it retreated in favour of a cipher of disturbance as I began to understand Lenz. Thence the explanation for the failure of the attempts to approach him – including my attempt to interpret him via musical representation – because, essentially, Lenz himself is the failure. Only the naked stages of that failure remain portrayable, i.e. including the failure of those who wish to “help” Lenz, for example, while Lenz himself is already trapped inextricably in a state of complete destruction. I tried to compose my way into that situation as far as possible; the insistence of several rhythmic and harmonic configurations is the palpable expression of the main character’s ever-recurring rigidity. One sound pervades the entire work. The musical stage For me, this is a place where very magical and very human things take place. In Jakob Lenz, the human aspects often switch to magical ones, since the realism of a self-suasive, unhinged soul takes on surreal traits – or we simply cannot understand that otherwise except as not being real. A character like Jakob Lenz on the stage is complex due to the fact alone that it harbours many stages within itself, and music must represent those constantly present stages. I have tried to do so in the most direct way – by not cleanly separating the musical layers, but keeping them constantly in evidence until they must break forth, each in accord with its own dramaturgy. In an overview, the large form takes on aspects of a rondo, performed in overlapping layers – a type of rondo relief, since perspectives of psychological proximity and distance are indeed formulated musically as atmospheric relations. Above all: the thread on which Jakob Lenz hangs is the current onto the listeners’ hearts. Wolfgang Rihm (January 1979)/ Répertoire / Chant et Piano

Par MC NEFF STEPHEN. My research for Banished began with a small group of students during a Trinity Laban co-lab period in 2013, though the idea goes back over 30 years when I first saw Steve Gooch’s Female Transport and stored the idea of adapting it as an opera until the right opportunity arose. I have been involved in opera for a long time and it has always been a frustration for me that while there is an abundance of female talent (particularly so in conservatories and colleges) there is a noticeable lack of challenging roles available for young women. The roles most often undertaken are maids or innocent girls, compliant wives or tomboys. Not that the problem is necessarily confined exclusively to young women, but where good roles exist, the women are all too often merely passive or victims. Things happen to them rather than them making things happen. They are unable to influence their circumstances and are usually resigned to their fate. Worse still, they are often judged in some way responsible for what happens to them, culpable even because of their looks, their way of life or a streak of independence. Just think about Mimi, Carmen and Violetta (to name only three on a long list). All these characters die, and their attempts at individuality contribute to their demise in some way that they have no control over. With some exceptions female characters in opera are too often sad, mad or bad. Redressing this balance and taking advantage of the richness in vocal talent is only one reason to write an opera reflecting the reality of a group of strong women who work things out for themselves. The transportation of people to Australia at the beginning of the nineteenth century is not a particularly well understood part of history beyond a sort of folk myth. What were the circumstances, who were the people and what happened to them? Opera does not exist to completely answer these questions, but it can focus on the women as individuals and help tell their story. (All the women named in the opera actually existed.) My approach has to been to put the women’s narrative centre stage and, in the confines of an oppressive, dangerous environment go with them on their journey as they survive or sink. The demands on the women are huge. At every turn they are oppressed by their jailers, the system that brought them here and their own low expectations. They have to work out ways to overcome these odds. We discover them through their music in solos and ensembles, sometimes reflective, at other times boasting about their lives a petty criminals and trying to establish status and pecking order. Alongside this I have used references to music of the time to create another reality built on larger ensembles and choruses. This is a sort of collective consciousness aware of loss, longing and context – even of a broad political dimension to the realities of Transportation. Despite the acute awareness of their circumstances in these ensembles, there is also a resilience and strength that transcends the individual stories. Stephen McNeff / Instrumental Music / Répertoire / Voix

More Songs and Games for the Music Class-Bring singable songs and practical pedagogy together with 20 more children's songs rhymes and games from around the world! Songbook Three also features extension activities for the classroom historical references pedagogical indices and suggestions for including these songs in the First We Sing literacy-based music series available from Hal Leonard. In addition there are suggestions for Orff instruments and recorder along with seasonal and holiday songs singing games and songs just for fun. This third volume comes with digital access to songsheet PDFs for projection or print options and audio access to sing-along recordings featuring Inner Voices a group of 8-16 year-oldsingers from The West Texas Children's Chorus. Ideally suited for teaching musical skills this collection provides a vocabulary of music and play from which children can draw today. Adults and kids of all ages will discover the fun and enjoyment of listening learning singing and playing these songs for generations to come! 20 songs including: Bandyrowe Goin' to Boston I'se the Bye Little Sally Walker Steal Liza Jane T'was in the Moon of Wintertime and more! Suggested for grades 1-5.

POD-James Whitbourn's Agnus Dei From Missa Carolae. Missa Carolae was commissioned by Rochester Cathedral the second oldest cathedral in England to mark the 1400th anniversary ofits foundation. It was first performed there on 24 December 2004 by the Rochester Cathedral Choirs Andy Findon (Fife) the Locke Brass Consort Edmund Aldhouse (Organ) Joby Burgess and Catherine Ring (Percussion) directed byRoger Sayer. The work is intended to invoke a dance-like spirit which is true to the origin of the carol as a simple dance form. The choir parts should be very well-known so that the singers can sing with the whole oftheir bodies and not just their voices. This version is a reduced scoring for SATB (unchanged) with Organ and optional Piccolo and also acts as the vocal score to the full version. In this scoring the Piccolo adds to theeffectiveness of the piece. In either scoring the Piccolo may be replaced with a Flute Fife or even a more rustic Pipe as was used at the first performance. The original scoring for SATB with Piccolo Brass (3 Trumpetsand 3 Trombones) Percussion (2 players) and Organ accompaniment is the preferred version. Full score and parts are available on hire from the publisher or full score on sale (CH71621). The Piccolo part (CH79893-01) is common toboth scorings and is available on sale or hire with the full version. The Organ accompaniment in this score is for performance of the version for SATB Piccolo and Organ only. An A4 spiral-bound version of this score may bepreferable for the organist (CH79893-02). The separate Organ part - available on hire - must be used for the version with instruments.An ad lib. part for the congregation (CH70961 pack of 50) is incorporated into the fullscoring of Missa Carolae. Reference to the entries of the congregation is made in the vocal score for occasions when it is used in conjunction with the full instrumentation.

This short opera (duration of 50 minutes) aptly designed for children to perform with modest resources is a version of the familiar tale though with certain adaptations. Cinderella is an au pair girl who arrives on the scene bytrain and there are three ugly sisters who get their just deserts in marriage to the appalling leaders of the armed forces. Writing for children in the Orkney Islands Davies has also included some local references: these can bechanged to suit other times and places. Musically the piece is a bright sequence of little songs choruses dialogue scenes and dances probably best suited to children between the ages of eight and twelve though the parts of theugly sisters can usefully be taken by boys with broken voices.Text only.Duration c. 50mins.