Par SILVERMAN JERRY. This comprehensive and historically significant collection captures the hope and tragedy of the Civil War era with period photographs and lithographs. Includes guitar/vocal and guitar solo arrangements of 38 favorite songs of the period. Songs are classified by subject matter: The Union, the Confederacy, Lincoln, universal sentiments, soldier's songs, battles, Negro spirituals and abolitionist songs, the lighter side, and post-bellum. Written in standard notation and tablature. / Niveau : Débutant à Intermédiaire / American - Songbooks / Tablatures / Guitare Tablatures

Based on the poem Dreams by Paul Laurence Dunbar one of the first African American poets to gain national prominence and recognition. Singing of the power of dreams and how they take flight. When they do they take all of us singers and listeners to higher heights of hope and inspiration.

#2 from The Greatest of These Eugene Rogers Choral Series-Number 2 from ?The Greatest of These? (No. 1 Unseen and No. 3 Flight) this movement is written on the virtue of hope. Using a rich yet simple harmonic palette that strives to create a sense of nostalgia. Hope here assures that in the darkest ofexperiences when all joy is but a distant flicker of light it serves as a spark for the immortal flame of life that can illuminate even from the deepest shadows.

Uses: Maundy Thursday Good Friday Holy Week Scripture: Luke 22:53b; Matthew 26:36-38 Profoundly moving poetry pours emotion into a bittersweet scene from Christ's anguish in Gethsemane and onGolgotha. To experience the glory of Easter we must first embrace the shadows of Holy Week. This thoughtful anthem accomplishes this journey with emotive rich music that sonically paints the deep sadness of the text. Solid fourpart textures create a full sound and when at last the piece suggests the coming light of Easter the listener is left with a winsome whisper of hope. Duration: ca. 4:09.

Uses: Advent Hanukkah Ecumenical ConcertA truly memorable melody expresses the warmth and hope of the season of lights in this lovely new choral song. Written with inclusive sensitivity this original text willbe very useful to directors as they strive to be sensitive to the many faiths that celebrate holidays in December. Using the universal symbol of light this work challenges us to carry hope and light to a world in darkness. Greatfor school or church choirs!

Par WEDGWOOD PAM. Ce livre est est parfait pour ceux qui recherchent quelque chose de combler le fossé entre les grades. Style inimitable de PAM Wedgwood est garanti à insuffler une nouvelle vie à votre jeu violoncelle - les pièces variées dans cette nouvelle collection brillante varient de numéros jazzy toe-tapping à des styles plus classiques, tous conçus pour vous faciliter doucement sur vers l'année prochaine. Alors lighten up et aller de l'avant avec Up-Grade !/ Recueil / Clarinette et Piano

Compilation album of four of The Complete Guitar Player songbooks. Contains over 180 songs written by the great songwriters. / Guitare / 172 pages / Partition

Par GEROU TOM. The Best of Tom Gerou, Book 3, is a collection of 12 intermediate to late intermediate solos for students. The piano works in this series were selected from a variety of collections and sheets and were compiled into graded collections. The pieces include Tom's favorites, contest selections, and established student-pleasers throughout the years. Performers will find a well-balanced assortment of solos reflecting different moods, sounds, styles, and musical challenges./ Recueil / Piano

A Winter Service of Hope and Healing - Preview Pack (Book/Listening CD)-The Longest Night is a unique winter service of devotion that has a very special ministry focus. This introspective smaller work is intended to be a worship experience that encourages those going through times of sorrow and grief during the holidays. Inspired by the solstice winter's longest night this service of music scripture and prayer brings light into the darkness and offers hope to those in deepest need. A small consort orchestration adds a fragile intimacy and brings a healing ambience to this singular service of song. Songs include: Prelude (In the Bleak Midwinter) - Be Still and Know - The Winter Weeps in Snowfall - He Shall Feed His Flock - The Healing Place - IThank My God for You - In the Bleak Midwinter. Score and Parts (fl ob/eng hn fr hn vibes pno vn vc) available as a Printed Edition and as a digital download.

A Winter Service of Hope and Healing-The Longest Night is a unique winter service of devotion that has a very special ministry focus. This introspective smaller work is intended to be a worship experience that encourages those going through times of sorrow and grief during the holidays. Inspired by the solstice winter's longest night this service of music scripture and prayer brings light into the darkness and offers hope to those in deepest need. A small consort orchestration adds a fragile intimacy and brings a healing ambience to this singular service of song. Songs include: Prelude (In the Bleak Midwinter) Be Still and Know The Winter Weeps in Snowfall He Shall Feed His Flock The Healing Place I ThankMy God for You In the Bleak Midwinter. Score and Parts (fl ob/eng hn fr hn vibes pno vn vc) available as a Printed Edition and as a digital download.

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

String Quartet Version - Parts)-The composer writes: 'The backdrop for this commission was to complement music by the great Ludwig van Beethoven. Beethoven’s scores for string quartet are cornucopias of techniques and musicality. They were certainly not meant for pure entertainment. Ending up with Beethoven’s quartet Op. 59 No. 1 as a reference for this piece I even used elements from this quartet in my own composition. Beethoven’s position as a free artist has been of great importance to all following composers. This is of equal inspiration as his music. As a free artist one has to reflect upon our own time and not be afraid of allowing reality affect our work. When I was in the middle of writingthis piece something horrible happened in my neighbourhood. A bomb exploded in Oslo and a killer shot teenagers on an island summer camp. My nation’s reputation as a peaceful country to live in was drastically and forever changed. It was hard to compose. Papers and online media were soon filled with horrible pictures from the events. The lead-coloured skies being a recurring sight. The ambiguity in the title reflects both hope and dread. Beethoven’s light shines through strong and full of life! The piece was commissioned by the Engegård Quartet in 2011 and appears the recording String Quartets vol IV: Schubert-Ratkje-Britten-Haydn. A later piece was composed for string orchestra: 'Tale of Lead and Frozen Light' (2014)'. The composer writes: 'The backdrop for this commission was to complement music by the great Ludwig van Beethoven. Beethoven’s scores for string quartet are cornucopias of techniques and musicality. They were certainly not meant for pure entertainment. Ending up with Beethoven’s quartet Op. 59 No. 1 as a reference for this piece I even used elements from this quartet in my own composition. Beethoven’s position as a free artist has been of great importance to all following composers. This is of equal inspiration as his music. As a free artist one has to reflect upon our own time and not be afraid of allowing reality affect our work. When I was in the middle of writingthis piece something horrible happened in my neighbourhood. A bomb exploded in Oslo and a killer shot teenagers on an island summer camp. My nation’s reputation as a peaceful country to live in was drastically and forever changed. It was hard to compose. Papers and online media were soon filled with horrible pictures from the events. The lead-coloured skies being a recurring sight. The ambiguity in the title reflects both hope and dread. Beethoven’s light shines through strong and full of life! The piece was commissioned by the Engegård Quartet in 2011 and appears the recording String Quartets vol IV: Schubert-Ratkje-Britten-Haydn. A later piece was composed for string orchestra: 'Tale of Lead and Frozen Light' (2014)'.

Christmas Cantata-It was into the shadows and winter of this world that Christ came to bring us the light and warmth of his salvation. The new cantata Winter's Grace from renowned composer Joseph M. Martin celebrates this great light andwashes the sanctuary with the message of hope peace joy and love using a program of candles scriptures prayers and music. The incorporation of familiar carols will engage the listener and ease the learning process. There is a full line of support products available to facilitate your presentation of this dramatic new work including a digital resource kit featuring art work PowerPoint visuals a Bible study practice hints interpretivemovement options plus a unique composer's commentary explaining some of the writer's perspective on the composition of the work. Includes: A Winter's Song Celebration for Advent Hop Peace Joy and Love Carols ofAdoration Let the Earth Resound With Praise! A Silent Holy Night and more. Score and Parts for Flute 1and2 Oboe/English Horn Clarinet 1and2 Bassoon Horn 1and2 Percusson 1and2 Harp Piano Timpani Trumpet 1 2and3 Trombone 1and2 Bass Trombone Tuba Violin 1 Violin 2 Viola Cello Double Bass.

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