Prepare the Way of the Lord

From the Christmas cantata A Child This Day this exuberant setting of the familiar Isaiah text makes an exciting Advent or Christmas call to worship anthem. The joyful 6/8 meter and majestic orchestration provide awonderful impetus for the scripture passages “Make straight in the desert a highway for our God! Every valley shall be lifted up every mountain made low prepare ye the way of the Lord!”Available separately: SATBand SAB. Instrumental ePak includes Score and Parts for Flute Oboe Horn Trumpet 1 2 Trombone Tuba Percussion Timpani Violin 1 2 Viola Cello and Bass. ChoirTrax CD also available. Performance Time: Approx. 2:30

A Christmas Cantata-The triumphant opening Prepare the Way of the Lord sets the tone for this joyous and celebratory Christmas cantata. A children's choir is featured in two sections bringing innocence and simplicity to the telling of thestory. It displays some of Harlan's best writing and truly a signature work. Songs include: Prepare the Way of the Lord My Soul Magnifies the Lord A Child This Day Hush My Babe Lie Still and Slumber O Sing a Song of Bethlehem The Wise May Bring Their Learning and O Come All Ye Faithful. Full orchestration available.Available separately: SATB Orchestra Pak/ePak CD 10-Pak Preview CD Preview Pak andChoirTrax Accompaniment CD. Performance Time: Approx. 30:00.

11 vocal selections from this timeless musical including: All Good Gifts £ Bless the Lord £ By My Side £ Day by Day £ Light of the World £ Prepare Ye (The Way of the Lord) £ Turn Back O Man £ and more.

In preparing for publication the 1935 orchestral version of Britten's Te Deum in C it became clear that there were a number of discrepancies between the manuscript and the original 193 vocal score. Some of these were minor:different articulation and dynamic markings something Britten was later very fussy about but perhaps left unchanged on proof because of his relative inexperience at this stage of his career with the processes of musicpublishing. Others were more important: wrong pedal notes for example which Britten failed to notice on proof and which have been perpetuated in performances and recordings for nearly seventy years. These have been corrected inthe new edition of the vocal score and in the orchestral score (Britten clearly used the published vocal score to prepare his orchestral version). The two versions have been made consistent in other details - rehearsal cues andbar numbers for example - since Britten intended choristers to use the vocal score to perform the orchestral version. This would have been an easy task for these is little discrepancy in essential details between versions (arare departure occurs in bars 53 to 56 where the works 'Lord God of Sabaoth' are unaccompanied in the orchestral version but doubled by Organ in the original). Sustained Organ chords are often filled out with arpeggiated stringwriting while the spacing of chords is frequently much wider in the string version with melodies transposed into different octaves. Although harmony in both versions is identical voice leading is sometimes altered in the latterto make it better suited to the idioms of the instruments concerned.So although in essence the two versions are the same the soundworld explored in each is quite distinct. Britten's orchestral version should neither beviewed as an occasional piece nor considered solely a liturgical work like many of his choral pieces from the 1930s and 1940s it is equally at home in church and concert hall.

Uses: General Concert Easter AdventScripture: Isaiah 40:5; Revelation 5:13Raw power characterizes the opening of this festival anthem from the Cathedral Series. Massive chords sweep forwardbringing in fanfare-like choral acclamations of praise. Use of a solo reed adds shine and the martial like theme is a confident call to worship and invitation to prepare the way of the Lord with praise. The church was made forsong and the middle contrasting section celebrates this legacy of praise by increasing intensity until breaking forth with jubilant alleluias. A final canon caps this majestic offering!

Britten's Te Deum In C is arranged for Treble (Soprano) solo SATB choir and Organ accompaniment.In preparing for publication the 1935 orchestral version of Britten's Te Deum in C it became clearthat there were a number of discrepancies between the manuscript and the original 193 vocal score. Some of these were minor: different articulation and dynamic markings something Britten was later very fussy about but perhapsleft unchanged on proof because of his relative inexperience at this stage of his career with the processes of music publishing. Others were more important: wrong pedal notes for example which Britten failed to notice on proof and which have been perpetuated in performances and recordings for nearly seventy years. These have been corrected in the new edition of the vocal score and in the orchestral score (Britten clearly used the published vocal scoreto prepare his orchestral version).The two versions have been made consistent in other details - rehearsal cues and bar numbers for example - since Britten intended choristers to use the vocal score to perform theorchestral version. This would have been an easy task for these is little discrepancy in essential details between versions (a rare departure occurs in bars 53 to 56 where the works 'Lord God of Sabaoth' are unaccompanied in theorchestral version but doubled by Organ in the original). Sustained Organ chords are often filled out with arpeggiated string writing while the spacing of chords is frequently much wider in the string version with melodiestransposed into different octaves.Although harmony in both versions is identical voice leading is sometimes altered in the latter to make it better suited to the idioms of the instruments concerned. So although inessence the two versions are the same the soundworld explored in each is quite distinct. Britten's orchestral version should neither be viewed as an occasional piece nor considered solely a liturgical work like many of his

Par . Learn some of Berklee's favorite, most popular guitar music. This collection includes some of the most popular songs and repertoire taught by the Berklee Guitar Department faculty. The music is taught and performed in their Guitar Sessions summer programs, global initiatives, online, and on campus. By learning this music, you will experience a diversity of styles: classic rock, blues, country, singer/songwriter, jazz, jam band, funk, progressive rock, funk, classical, and contemporary improvisation/microtonal music. Each piece is selected and introduced by some of Berklee's most popular faculty members. This collection will help you become a well-rounded player and prepare you to participate in Berklee's guitar programs. Notation varies, depending on the style of the selection, and may include traditional notation, tablature, and chord diagrams. 20 songs, including: Apache (Jerry Lorden) · Freight Train (Elizabeth Cotten) · Hey Hey (Big Bill Broonzy) · Two Bones and a Pick (T-Bone Walker) · We Gather Together (16th Century Dutch song) · The Weight (Robbie Robertson) · Wildwood Flower (Maybelle Carter) · You've Got to Hide Your Love Away (Lennon/McCartney) · and more. / Date parution : 2023-08-12/ Recueil / Guitare

Par MITZNER ROB. Drumming in a Band: Stuff you Can Use, by Rob Mitzner, can prepare drummers to play almost any kind of gig. The target audience is drummers with 2 or more years of playing experience who want to learn to play in a band. All of the material presented comes from the author's real-world experience in recording sessions and band situations. Based around ?Groove Workshops? that include 53 bass/drums groove play-alongs, styles explored include rock, drum'n'bass, RandB/soul, reggae, World, roots, blues, jazz, odd time, and more. Within these styles, specific substyles and classic influences are examined, with grooves and rhythm section approaches used by Billy Cobham, James Brown, Steve Jordan, David Garibaldi, J Dilla, Robert Glasper, Art Blakey, and many others. Other substyles studied include bluegrass, New Orleans Second Line, boogaloo, blues, various shuffles, grungy rock, jazz brushes, and much more. The package also includes 18 full-length original song play-along tracks with New York bands and top session players, including Woodhead, Simon Garrett, Dave Ross, Luke Buck, Andrea Capozzoli, MC Frontalot, Will Reynolds, Eric Price, Michael Gallant, Lars Potteiger, Chris Cheek, Dmitry Ishenko, Yana Davydova, Matthew Milligan, John Shannon, Jared Sims, Gaby Alter, Schaffer the Darklord and Miss Eaves. Audio files with and without drums are included for every groove, along with detailed charts, transcriptions, road maps and lead sheets. There is also a section on how to make your own charts. There is video and analysis for every track, with interviews, anecdotes, and pro tips for the drummer from all the various musicians. / Date parution : 2022-05-03/ Etude / Batterie

Par SCHWARTZ STEPHEN. Sélections de piano faciles de comédie musicale 1970 de Stephen Schwartz, Godspell - une série de paraboles, provenant principalement de l'Evangile de Matthieu. Celles-ci sont ensuite entremêlés avec une variété de musique moderne définie principalement aux paroles des hymnes traditionnels, avec la passion du Christ traités brièvement près de l'extrémité de la performance. / Niveau : Facile / Recueil / Piano

Thirty musical arrangements by noted African-American tenor recall biblical events in such well-known tunes as Deep River Dry Bones Steal Away and Were You There' Perceptively written introduction to each song includes background history. Rich collection will appeal to lovers of great spirituals and the rich legacy of African-American song.Reprint of My Songs: Aframerican Religious Folk Songs Arranged and Interpreted by Roland Hayes Little Brown and Company Boston 1948.