The Daily Ukulele contains a super collection of 366 well-known songs arranged for ukulele from the 1950s through today.All songs feature melody, lyrics and ukulele chord grids in uke-friendly keys. A special 'Ukulele 101? section, chord chart, and vintage ukulele-themed photos makes the experiences of learning new songs much more fun and exciting.This Songbook contains a piece of sheet music for every day of the leap year, to keep you strumming for its entirety. Featuring songs from artists such as Elton John, the Bee Gees, Stevie Wonder and Michael Jackson plus many, many more. / Ukulélé

Timeless Cornish Melodies Cooked Up For Hungry Brass Players-As I sit myself down to write this brief foreword I ask myself can there be music more stirring than these old Cornish folk melodies? Though not Cornish myself (I confess to being born a little further up the road in Bristol) I feel I have spent sufficient time in these 'ere parts to resonate with the sturdy brass band tradition that continues to permeate this incomparably beautiful rugged county. One can almost detect a French 'accent' when listening to the piano music of Debussy and likewise speaking as a lapsed brass player there is undoubtedly something of the Cornish twang about Trelawny when played on a cornet or euphonium. Then again one gets a different yet entirely convincing effect upon hearing these melodies rendered on woodwind instruments; hence with a little gamesmanship on my part I am pleased to see my collection of these fifteen delectable ditties come to fruition in the form of arrangements for treble clef brass instruments (in B flat and E flat) trombone and tuba (bass clef) horn in F flute clarinet and bassoon.While many will find themselves humming the likes of Going up Camborne Hill Lamorna or The Helston Furry Dance even before they have turned to the first page - for these are indelibly intertwined with Cornish culture - I wonder if I might draw your attention to The Cornish Squire The Pool of Pilate and Cold Blows the Wind Today Sweetheart which are quite simply sublime melodies perhaps needing that extra bit of help in bringing them to mind nowadays. In the best tradition of musical hand-me-downs Cornish folk music works equally ideally sung and played and only by doing so on a regular basis can such traditions hope to continue forward with vigour and authority. A legitimate way of achieving this is to revitalise the harmonic scheme of these ancient tunes and bring them up to date for a modern audience; after all it was such an approach that fuelled the imagination of Benjamin Britten and Ralph Vaughan Williams in decades past while skilfully paying homage to the

Grades 1 - 4-As I sit myself down to write this brief foreword I ask myself can there be music more stirring than these old Cornish folk melodies? Though not Cornish myself (I confess to being born a little further up the road in Bristol) I feel I have spent sufficient time in these 'ere parts to resonate with the sturdy brass band tradition that continues to permeate this incomparably beautiful rugged county. One can almost detect a French 'accent' when listening to the piano music of Debussy and likewise speaking as a lapsed brass player there is undoubtedly something of the Cornish twang about Trelawny when played on a cornet or euphonium. Then again one gets a different yetentirely convincing effect upon hearing these melodies rendered on woodwind instruments; hence with a little gamesmanship on my part I am pleased to see my collection of these fifteen delectable ditties come to fruition in the form of arrangements for treble clef brass instruments (in B flat and E flat) trombone and tuba (bass clef) horn in F flute clarinet and bassoon.While many will find themselves humming the likes of Going up Camborne Hill Lamorna or The Helston Furry Dance even before they have turned to the first page - for these are indelibly intertwined with Cornish culture I wonder if I might draw your attention to The Cornish Squire The Pool of Pilate and Cold Blows the Wind Today Sweetheart which are quite simply sublime melodies perhaps needing that extra bit of help in bringing them to mind nowadays. In the best tradition of musical hand-me-downs Cornish folk music works equally ideally sung and played and only by doing so on a regular basis can such traditions hope to continue forward with vigour and authority. A legitimate way of achieving this is to revitalise the harmonic scheme of these ancient tunes and bring them up to date for a modern audience; after all it was such an approach that fuelled the imagination of Benjamin Britten and Ralph Vaughan Williams in decades past while skilfully paying homage to the

As I sit myself down to write this brief foreword I ask myself can there be music more stirring than these old Cornish folk melodies? Though not Cornish myself (I confess to being born a little further up the road in Bristol) I feel I have spent sufficient time in these 'ere parts to resonate with the sturdy brass band tradition that continues to permeate this incomparably beautiful rugged county. One can almost detect a French 'accent' when listening to the piano music of Debussy and likewise speaking as a lapsed brass player there is undoubtedly something of the Cornish twang about Trelawny when played on a cornet or euphonium. Then again one gets a different yetentirely convincing effect upon hearing these melodies rendered on woodwind instruments; hence with a little gamesmanship on my part I am pleased to see my collection of these fifteen delectable ditties come to fruition in the form of arrangements for treble clef brass instruments (in B flat and E flat) trombone and tuba (bass clef) horn in F flute clarinet and bassoon.While many will find themselves humming the likes of Going up Camborne Hill Lamorna or The Helston Furry Dance even before they have turned to the first page - for these are indelibly intertwined with Cornish culture I wonder if I might draw your attention to The Cornish Squire The Pool of Pilate and Cold Blows the Wind Today Sweetheart which are quite simply sublime melodies perhaps needing that extra bit of help in bringing them to mind nowadays. In the best tradition of musical hand-me-downs Cornish folk music works equally ideally sung and played and only by doing so on a regular basis can such traditions hope to continue forward with vigour and authority. A legitimate way of achieving this is to revitalise the harmonic scheme of these ancient tunes and bring them up to date for a modern audience; after all it was such an approach that fuelled the imagination of Benjamin Britten and Ralph Vaughan Williams in decades past while skilfully paying homage to the

In memory of Christopher Rowland. Originally a concerto for Cello and chamber orchestra now for Cello with a Piano reduction of the orchestral part.The concerto is in four movements which are played without a break: Meditation Intermezzo Toccata-Scherzo and Song. The work lasts for some 18 minutes and was scored for two oboes two horns timpani (doubling tubular bells) and strings(found here in a Cello/Piano form). It is organised in one large arch-shaped structure with two fast inner movements flanked by two outer slow ones. The solo cello opens the work reflectively and introduces core melodic material which is continuously developed throughout theconcerto. Gradually the strings enter then wind and timpani and build a pyramid twelve-note chord at the peak of which there is a dramatic climax. The music then subsides (solo cello again) but links to the two faster middle movements. The second movement Intermezzo has an ABA structure and in its middle section quotes the opening of Shostakovich's Third String Quartet (written in the same year as Christopher Rowland was born!). Indeed the ghost of Shostakovich looms large throughout the concerto in more ways than one. The Toccata-Scherzo is energetic and rhythmically-charged again using an ABA structure. Here the writing for solo cello is quite virtuosic but not I hope in a shallow sense. The music builds inexorably towards a powerful climax underpinned by the opening twelve-note chord's re-appearance together with a violent outburst from the timpani at which point a tonal resolution (on G) arrives through a pianissimo held chord on strings which leads directly to the final movement - Song. And so the music arrives at its emotional heart through a simple melody (present in other forms throughout the work) announced by solo cello at the very top of its register against a quiet backdrop of horns and strings. A solo oboe enters with cello in canonic reply and all the time the music builds in texture and

At First Light was commissioned by Eric Bruskin a resident of Philadelphia USA in memory of his mother. Eric had a longstanding enthusiasm for my work and I was touched to be the person he approached for a task which is both a privilege and a daunting responsibility. In a sense no music can ever measure up to the weight of love or the hope of consolation vested in it under such circumstances – but in memory I carry the deaths of both my own parents and I was able to draw upon that. Eric’s fondness for my Cello Sonata (itself written in memoriam) led him to ask that I include a solo ‘cello part in the new work – but his attachment also to my polyphonic sacred choral writing meant that he wanted a centrepiece which would be both a showcase of that approach and the celebration of a life well lived. Therefore the seven movements of At First Light arrange themselves as a series of slow meditations surrounding an exuberant 9-minute motet in which the lamenting cello falls temporarily silent. Eric’s Jewish faith meant that approaching an agnostic humanist brought up within the Anglican tradition was hardly free of problems! Gradually though I was able to win his approval for a collated mosaic of texts. This embraces some liturgical Latin (necessary for the motet) as the shared preserve of broad western culture in general but balances it with a secular approach to loss celebration remembrance and the many shades of our mourning those whom we see no longer. Eric was adamant that he did not want the title Requiem; but what has emerged is still a form of semi-secular Requiem in all but name taking its title instead from a phrase in the poem by Thomas Blackburn set as the third movement. This seemed to suggest succinctly how the loss of one very close to us is an awakening into an unfamiliar world where everything is changed. Following the exuberant central movement the texts by the Lebanese-born Kahlil Gibran and the US Kentuckian poet Wendell Berry first address the departed loved one directly then place us within an imaginary funeral cortège where the perennial and universal in human experience become personal without subscribing explicitly to any particular faith (or lack of it). The final text of all is a translation of a Hebraic prayer requested and provided by Eric Bruskin which serves to mirror its Latin counterpart heard at the outset. Throughout the lamenting cello represents a commentary on the experience articulated in the text. It evokes and in a sense tries to embrace and sanctify the individual existential journeys of the bereft as they in turn seek to make their own sense of what the short-lived Second World War poet Alun Lewis called ‘the unbearable beauty of the dead’ (movement 5). In a modern world hostage to ever greater menace displacement bloodshed and anguish I hope fervently that this music not only brings a measure of solace to the person who commissioned it but also makes its own small contribu

Par MARTIN JOSEPH M.. This cantata is a celebration of light. Filled with time-honored carols and expressive original songs, this work will dazzle and inspire. The first half of the cantata is dedicated to hopeful prophecies associated with the coming Light of the World. With the birth of Jesus, the second part moves forward to declare the tidings of great joy and is crowned with an opportunity for the congregation to join in singing, Joy to the World. Brant Adams and Robert Sterling shine as orchestrators of this truly festive work. Glorious! Songs include: A Festive Call to Christmas, Celebration of Light, Come, Golden Light, Dazzling Joy, Beautiful Name, Dreamer of Stars, Angel Song, Silver and Shadows, Joyous Carols of Christmas. Score and Parts for Full Orchestra (fl 1-2, ob, cl 1-2, bn, hn 1-2, tpt 1-3, tbn, 1-2, tba, timp, perc 1-2, hp, pno, vn 1-2, va, vc, db) available as a Printed Edition and as a digital download. Score and Parts for Consort (fl, cl, tpt 1-2, tbn, perc, kybd str) available as a Printed Edition and as a digital download./ Répertoire / SATB

The composer states:'The term 'oblique strategies? was coined jointly by British musician Brian Eno and German-born British visual artist Peter Schmidt to describe a series of printed cards they developed throughout the 1970's. The cards had their origins in sets of uncannily similar working principles that both artists had established independently, and featured aphorisms intended as a means of triggering inspiration or providing useful stimulus during the creative process, particularly when encountering difficulties of fatigue or time constraint.As Eno and Schmidt wrote in their introduction to the first edition in 1975: 'They can be used as a pack (a set of possibilities being continuously reviewed in the mind) or by drawing a single card from the shuffled pack when a dilemma occurs in a working situation. In this case, the card is trusted even if its appropriateness is quite unclear. They are not final, as new ideas will present themselves, and others will become self-evident?.I chose eleven of Eno and Schmidt's strategies, ordering them in a way that revealed to me a logic and potential inter-relatedness within a hitherto disparate set of single ideas I had assembled for solo cello, each of them in turn a reflection upon the commission's initial purpose of creating a test piece for the 2014 Emanuel Feuermann cello competition.It's my hope then that the resultant composition may provide not only an interesting test of the competitors' talents but also offer the interpreter an opportunity to reflect upon the delights and pitfalls of creativity as he or she comes to terms with the various musical and technical challenges to be found within these ten minutes of music for solo cello.? / Violoncelle

Nunc autem manet was written for the wedding of Paul and Angharad de Cates in 2010. The text is taken from Corinthians 13:13 – ‘Now but three things remain: faith hope love. But of these three the greatest – this is love.’ The piece reveals the three fundamental tenets of Christian life with contrasting austere and lush harmonies and brief contrapuntal episodes ending with a gently pulsing chord-shift on the word ‘caritas’ over which the well-known plainsong melody ‘ubi caritas’ can be heard.The Novello New Choral Series is an inspiring selection of new works from a range of contemporarycomposers offering pieces for all types of choirs including sacred and secular works from simple four-part settings to more expansive yet accessible repertoire in an exciting variety of styles. This collection is perfect for choirs looking to broaden their repertoire and explore some of the best new music around.Born in 1963 John Duggan was a chorister at Westminster Cathedral and studied music at Oxford. Whilst still a boy he dreamed of writing in the choral tradition of Victoria Tallis and Palestrina. His vocal music has delighted both singers and audiences across Europe and the USA. He has written for a number of choirs including Commotio Westminster Cathedral Choir the Hildegard Choir and Sospiri and has received commissions from the Edington Music Festival Crossover Intergenerational Dance Group Oxford Youth Dance and The Oxford-Grenoble Association. He composers regularly for film and dance and performs as a singer and choral director whilst working as a recording engineer and producer.

The Beatles' North American tours turned the entertainment business on its ear and forever changed the landscape of the concert touring industry. In February 1964, after finally achieving a number-one hit in America, the Fab Four came to the country with high hopes, performing on the wildly popular Ed Sullivan Show in both New York City and Miami and playing concerts at Carnegie Hall and the Washington Coliseum. In just fifteen short days, the Beatles conquered America. The Beatles made music-entertainment history with their North American tours from 1964 to 1966.Some Fun Tonight! The Backstage Story of How the Beatles Rocked America: The Historic Tours of 1964-1966 is a comprehensive two-volume set which gives you a city-by-city synopsis of the group's activities as they traveled the United States and Canada for their groundbreaking series of concerts. From San Francisco's Cow Palace show on August 19, 1964, through their last-ever live performances at that city's famed Candlestick Park on August 29, 1966, these books cover the music and the madness that characterized the Beatles' three North American tours. With hundreds of photographs and images of rare memorabilia, it is truly the definitive reference for what is arguably the most important period in the Beatles' long and winding career. You'll read about the behind-the-scenes negotiations, the mayhem at the airports and hotels, and the cheeky quotes delivered at the press conferences. You'll also read about the opening acts, the concerts, and the stories behind the shows through the eyes of the Beatles, their entourage, the promoters, the emcees, and the fans. Never before have the Beatles' North American concerts been covered in such depth.If you witnessed the mania firsthand, you'll relive the excitement in the pages of these books. If you were born too late to be a part of those halcyon days, you'll learn what it was like to be swept up and carried away by the phenomenon of the greatest musical act of all time. When all is said and done, Some Fun Tonight is a tribute to the fans - the first generation and beyond. Look carefully at the faces of the fans in this book - they may be your friends, parents, grandparents - or even you! - but together, they made Beatlemania happen. Fasten your seat belt and enjoy this comprehensive history! / Divers

20Th Anniversary Edition-Grease Is Still The Word! Warren Casey and Jim Jacobs? Grease was a popular stage musical about the sub-cultures in 1950s American High Schools and in 1978 it was made in to a feature length motionpicture starring John Travolta and Olivia Newton-John. Subsequently it became a seminal teen musical with its evocative and energetic songs strong characters and a great story! This volume is a souvenir edition ofthe vocal selections to commemorate the 20th Anniversary of the film and includes special full colour stills from the movie. It contains all the songs from the soundtrack album each arranged for Piano and Voice completewith full lyrics and guitar chord boxes.

Par CASTELNUOVO-TEDESCO MARIO. Born into a family that had lived in Florence since the expulsion of the Jews from Spain in 1492, Mario Castelnuovo-Tedesco (1895-1968) entertained only a distant relationship with the music he heard at synagogue. It was only when he discovered Schelemo, a rhapsody for cello and orchestra written in 1916 by Ernest Bloch, that he began to understand what ' Jewish music” could be. In the mid-1920s, the young composer found a collection of prayers set to music among his maternal grandfather' s papers. Something clicked, and from then on, Jewish tradition would become a source of inspiration for Castelnuovo-Tedesco. In 1928, two years after publishing the Dances of King David, he wrote this Vocalise-E tude for medium voice and piano at the request of vocal teacher Amédée-Landély Hettich, who wanted to include it in the Répertoire moderne de Vocalises-E tudes published by Leduc. The piece became so popular that several instrumental adaptations were soon created, published under the title Chant hébraïque (for violin and piano: AL17 713- for cello and piano: AL 17196). Divided into three sections, this wordless melody opens with a ' sad and impassioned” chant that appears to grieve the tragic fate of the Jewish people. A folk dance follows, in which a ' lively and stubborn” movement has great panache. The third section returns to the initial poignant theme before briefly reiterating the dance motif, allowing the piece to conclude on a hopeful note. The composer himself would adopt this proactive stance, refusing to yield to resignation when, fleeing Mussolini' s anti-Semitic laws, he decided to emigrate in 1939 to the United States, a land of refuge to which he would remain faithful until his death some thirty years later./ Etude / Voix Moyenne et Piano