21 songs in English for progressing singers supplementing the song choices in Easy Songs for Beginning Singers and The First Book of Solos series. Contents: Barbara Allen (Quilter) · The Bay of Biscay (Davy) · Blackbirds and Thrushes (Sharp) · The Coasts of High Barbary (Sharp) · Come Let's Be Merry (Wilson) · The Duke of Bedford (Sharp) · Farewell Nancy (Sharp) · Gentle Annie (Foster) · I Am a Pirate King (Sullivan) · I Want What I Want When I Want It (Herbert) · The Law is the True Embodiment (Sullivan) · The Midshipmite (Adams) · My Generous Heart Disdains (Hopkinson) · Nothing But a Plain Old Soldier (Foster) · The Old Road (Scott) · Punchinello (Molloy) · The RamblingSailor (Sharp) · Shipmates o' Mine (Sanderson) · The Song of Brother Hilario (Cox) · Three Poor Mariners (Quilter) · While the Foaming Billows Roll (Wilson).

100 of the best songs from the silver screen arranged for piano, voice and guitar: Theme from Angela's Ashes · Beauty and the Beast · Chariots of Fire · Endless Love · Falling Slowly · Gabriel's Oboe · Hymn to the Fallen · The Music of the Night · Never Enough · Over the Rainbow · The Rose · Somewhere Out There · A Thousand Years · Unchained Melody · What a Wonderful World · and more./ Recueil / Piano/Vocal/Guitare (PVG)

Par BACEWICZ GRAZYNA. Studying the sketches for works which a composer considers to be finished, perfected, is a fascinating activity. It enables one to penetrate the secrets of creative work, to compare the initial outline of a composition with its final version. A sketch is generally left untitled, but it does occur that a composer enhances the status of such a draft by giving it a title, before creating an improved version of that title on the basis of the finished work. The list of compositions by Grazyna Bacewicz, the full catalogue of which is held in the National Library in Warsaw, includes a work for string quartet entitled Quatuor. The manuscript was left undated, but analysis of the music allows us to date this work to the mid-1960s. In the composer?s output from that period, the instrumental tone colouring, often an element that helps to forge a work, takes on particular significance. The first movement of the Quatuor [à cordes] opens with three fifth-tritone chords ?cast forth?, in succession, in saltando-gettato technique by the cello, second violin and first violin. When we look at the beginning of the Seventh String Quartet, from 1965, such a chord appears in the second bar of the cello part. Further comparisons lead to interesting conclusions. The two opening movements are almost identical, built from the same elements, only spatially arranged in a different way. In the structure of the first movement of the Seventh Quartet, one distinguishes two thematic planes, which shape the narrative after the fashion of a sonata allegro. The first theme is a series of episodes of changing texture ? from passagework to chords and short glissandos repeated with varying intensity. The second theme (Meno mosso) displays an imitative form. Both works feature an inverted reprise. For the first 25 bars of the second movement, a nostalgic Grave, the two works sound identical. The continuation of this movement in the Quatuor [à cordes] is more modest than in the analogous segments of the Seventh Quartet, in terms of both changing textures and the use of differentiated means of articulation. Towards the end, a motif from the beginning of this movement returns in modified form. Both the third movements (Capriccioso in the Quatuor [à cordes], Con vivezza in the Seventh Quartet) take the form of a rondo, and appearing in each of them is the same ?warbling? theme, based on scattered notes with grace notes. The Seventh String Quartet is in three movements. The presumed prototype consists of four movements. The last movement of the Quatuor [à cordes] is a Maestoso resembling a mine of textural ideas for other works of a sonoristic provenance from this period. The introduction, constituting a closed narrative whole and a reference point for the rest of the movement, is followed by segments that are dominated by ostinatos of various kinds, including with the use of harmonics, passages built on the progressive shifting of short motifs, and unevenly spread chords. Grazyna Bacewicz used material from earlier works more than once in her compositions. Her oeuvre also includes ?twin? pieces merely scored for a different set of instruments. Yet the self-quotation that occurs in the case of the Quatuor [à cordes] and the Seventh String Quartet ? lengthy passages from another of her works reused with minor modifications ? is an unusual situation. It undermines the former?s status as an independent work. Malgorzata Gasiorowska/ Répertoire / Quatuor à Cordes

Body And Soul for Clarinet Bass Clarinet Percussion Violin and Cello (2011). Parts available WH31294A Programme Note Posed some questions I can say: Each of us have our own reasons for finding a work successful - and each work has its own reasons for being successful very different reasons and reasons of a different kind. Speaking for myself I have opposing and often conflicting views and wishes. Automatically (!) I am attracted by music of a strict and severe nature but also by the unforseen the provocative and the devil-may-dare. And a burst of laughter to and fro shallbe welcomed - as a relief. Since the 1960's I have tried to condense the musical material as much as possible to make it as simple as possible. Complexity arises when the simple 'things' meet. 'Things' indicate that the motives of the music often can be experienced as objects.As the late Poul Nielsen put it speaking of my piece REPRISER from 1965: 'there is sound as sound - and sound as expression' . and there is 'a voice that speaks and a voice that is silent' The present new piece of mine Body and Soul is thus entitled because the brief first movement has a direct physical approach while the second movement has a more intimate spiritual and softer touch. Don Juan the Master of The Senses can be supposed to have embodied both sides in his nature. And what is Don Juan doing here? - the second movement gives the answer - by and by. Pelle Gudmundsen- Holmgreen

E-Z Play Today Volume 203-The updated edition now has over 80 hit songs including showstoppers from the latest Broadway smashes Aida Hairspray and Mamma Mia!. Highlights include: All I Ask of You · Cabaret · Don't Cry for Me Argentina · Hello Dolly! · I Could Have Danced All Night · I Go to Rio · Just in Time · The Light in the Piazza · Memory · Oklahoma · People · Seasons of Love · Somewhere · The Sound of Music · Sunrise Sunset · This Nearly Was Mine · Tomorrow · What I Did for Love · Younger than Springtime · many more.

Elgar was pre-eminently the composer of large forms. Complex, lengthy development of musical ideas was for him a measure of genius. His songs, with the exception of the orchestral cycle Sea Pictures , were not often the vehicles for his most striking ideas. Paradoxically, he was also bedevilled by a fine literally taste. He once told a friend that he felt it better to set the best second-rate poetry to music, for the most immortal verse is music already. Some of his songs are therefore settings of poets now all but forgotten, such as Arthur Salmon and Gilbert Parker: to their verse his music might make a vital addition. Elgar's songs offer authentic Edwardian reflections which we can value now in their own terms. These songs are full of echoes of a master's thoughts - and especially in the songs written for the stage - flashes of his genius. / Chant Et Piano

A special lay-flat comb bound edition. Selected and edited by Barry Rose Sing Precious Music is a superb collection of nine anthems written between the 1960s and today one newly published in this volume: all by noteworthy composers if choral works all memorable suitable for concert as well as liturgical use and all within the capabilities of the modern mixed choir large or small. A Choral Advisor to Novello since 1999 Barry Rose has been associated with many forms of choral music for over sixty years. The Novello Choral Programme is the creation of a panel of advisers preeminent in the British music scene. The aim is to publishessential editions from the best of the wealth of existing choral music ancient and modern while widening the repertoire with exciting new composers and new trends in music making.

'Postlude ' est l'un des 10 bougies d'anniversaire écrites pour le 10e anniversaire des Mobius et est inscrit pour flûte, clarinette, harpe et quatuor à cordes. À seulement 3 minutes de longueur et avec un marquage de tempo lento, ' Postlude ' puisse être programmé parfaitement comme une alternative intelligente à l'encore tel un stéréotype flashy ou même comme un ouvreur de concert inhabituel. La musique commence avec quelques belles chords choral ressemblant du Quatuor avant un certain nombre de flashes virtuoses est injecté par une ligne de flûte qui gagne la proéminence tout au long de l'ouvrage. / Flûte Traversière, Clarinette, Harpe Et Quatuor A Cordes

Edited by Thurston Dart25 madrigals for SAB by Bateson, Byrd, Campion, East, Ford, Hilton, Holborne, Morley, Mundy, Tomkins, Ward, Weelkes, Wilbye and Youll.CONTENTSBATESON, Thomas Beauty is a lovely sweet Love is the fire Your shining eyesBYRD, William Non nobis Domine Upon a summer's dayCAMPIAN, Thomas Jack and JoanEAST, Michael Follow me, sweet loveFORD, Thomas Now I see thy looks were feignedHILTON, John Dear, may some otherHOLBORNE, William Change, then, for lo, she changethMORLEY, Thomas Do you not know? O fly not, love O sleep, fond fancy Springtime mantleth every bough Though Philomela lost her loveMUNDY, John As I went a-walkingTOMKINS, Thomas How great delightWARD, John In health and easeWEELKES, Thomas Cease, sorrows, now Come sirrah Jack ho Late in my rash accounting Though my carriage be but careless Tomorrow is the marriage dayWILBYE, John Ye restless thoughtsYOULL, Henry Sweet Phyllis, stay

39 favorites from contemporary Broadway hit shows are featured in this collection of piano/vocal/guitar arrangements. Includes songs from: The Addams Family - Aladdin - The Book of Mormon - Bright Star - A Bronx Tale - Come from Away - Dear Evan Hansen - Hamilton - Kinky Boots - Natasha Pierre and the Great Comet of 1812 - Newsies - Something Rotten! - Waitress - and more.

A deluxe paperback book, packed with the most popular Jewish songs of the 20th century. Includes Israeli, Yiddish, Sephardic and Ladino songs. / Ligne Mélodique, Paroles Et Accords