Bind Us Together

An Artistic Late Intermediate Piece For Two Pianos-'The origins of the word concerto have long been debated by music historians. Some have maintained that the word derives from the Latin word concertare which means 'to fight or contend with'. Other believe it comes from conserere meaning 'to join or bind together'. I believe this concerto falls best in the second category with the two Pianos combining into an exciting interactive work. Playing concertos requires the soloist to listen carefully and play out when the solo part is the focus but to blend with the accompanimental part when it isn't. Work to play with rhythmic precision so you're in sync with the second part. And finally bring out allthe expression markings for an artistic and dramatic interpretation. You may just hear some 'bravos' of your own after your fantastic performance!'

This work has been dedicated to the victims and survivors of the bombing of the Murrah Federal Building in Oklahoma City on April 19 1995. To Bind the Nation’s Wounds seeks to portray through music some of the emotions and thoughts associated with the hours and days surrounding this terrible act. In writing this piece James Curnow sought to emphasize the inspiring courage and faith shown by the people of Oklahoma as they bonded together and responded to the stark cowardice and terror that confronted them.

6 Original Pieces for Brass Quintet. Who doesn?t know the great masters of this era, such as Tilman Susato ? or even Johann Sebastian Bach, who arrived on the scene a little later? Six very varied movements together comprise Arthur Binder?s Renaissance Suite. These movements lend themselves to all sorts of occasions throughout the year. Immerse yourself in the splendour of the Renaissance period and take a trip back to the era.

auf Texte aus der Bibel. Par HAKIM NAJI. Die Taube (The Dove) was commissioned by ”Kirchenmusik bei St. Anna Augsburg” to celebrate the 450th anniversary of the 'Augsburger Religionsfrieden' (Religious peace of Augsburg). It is based on three biblical verses related to peace : Gen. 8/11, Luk. 1/79, Joh. 14/27. The music is through composed and develops the character of the verses with contrasted string textures, putting in relief the expressive vocal line, declamation of light and happiness. The work exists in three versions : 1. for Tenor and string quartet, 2. for Tenor and string orchestra, 3. for Tenor and organ. First performance : by Robert Sellier, Tenor, Capella St. Anna Streichquartett, St. Anna Augsburg, Festkonzert zum Hohen Friedensfest, 8 August 2005. Gen.8/11 : ”And the dove came in to him in the evening; and, lo, in her mouth was an olive leaf pluckt off. ” Luk. 1/79 : ”To give light to them that sit in darkness and in the shadow of death, to guide our feet into the way of peace. ” Joh.14/27 : ”Peace I leave with you, my peace I give unto you. ” '...to guide our feet into the way of peace.' (Luke 1,79) Words and music bind people together to form fellowships which guide us into the way of peace. Singing or playing together combine bodies and souls, so that our rhythm and breathing becomes one - a sense of belonging to one another is created which instils the very nature of peace. So it is that by becoming an integral part of the music, our feet are guided 'into the way of peace'. In Luke chapter 1, both Maria and Zechariah are carried away, body and soul, in hymns of thanksgiving. They let God´s melody resound in their bodies. Ignatius, one of the Early Fathers of the Church, might have drawn his inspiration from them when he wrote to the Christians of Ephesus around the year 100, 'Let God´s melody resound in you.' The melody of our life is a single voice within God´s great melody; an everlasting celestial melody, in which we join together as integral parts - with time, we are gradually shown which chords we are given to touch and which chords to form with one another. God´s inextinguishable melody has an infinite galaxy of variations. As you would know, a variation is rooted but limitless. At our christening, God gives us a variation - an inextinguishable variation because of his promise, 'I am with you always, even to the end of the age.' (Matthew 28, 20). Deeply rooted as we are, God leads us through. He calls us to Life out of His Eternity, He lets his melody reverberate in us and finally calls us back, when we die, to His everlasting future. Let God´s melody resound in you and guide your feet into the way of peace./ Répertoire / Ténor et Quatuor à Cordes

Song cycle for medium voice and piano based upon the poetry of Ivor Gurney and Leonard Clark. A set of pieces very much in the English lyrical vocal writing tradition of Butterworth Ireland and of course Gurney.'The Pine Boughs Past Music is a song cycle baseed upon poetry associated with Gloucester and was commissioned to celebrate the eightieth anniversary of the Gloucester Music Society. Having purposefully sought inspiration from a wide array of Gloucester poets from Henley to Harvey I finally found inspiration in the poetry of Ivor Gurney whose work is so saturated with the Gloucestershire landscape. In his poetry Idiscovered the essential element I needed to bind the cycle together: the eternal backdrop of nature upon which the poet's thoughts are played out.It would have been quite easy to conclude the set with another poem by Ivor Gurney. However it was to Leonard Clark I turned. The title of his summative poem speaks for itself 'In Memoriam: Ivor Gurney': a haunting elegy that pays tribute to Gurney's everlasting memory.'                                 - Ian VenablesFirst performed on April 15th 2010 at St Mary-de-Lode Gloucester performed by Roderick Williams (Baritone) and Andrew West (Pianist).Commissioned by Christine Talbot-Cooper to celebrate the Gloucester Music Society's eightieth anniversary.

Easy-to-play arrangements of 35 inspiring classics, including: As the Deer ? Awesome God ? Behold the Lamb ? Bind Us Together ? Celebrate Jesus ? Great Is the Lord ? He Is Exalted ? I Love You Lord ? Lord, I Lift Your Name on High ? Oh Lord, You're Beautiful ? Open Our Eyes ? Shine, Jesus, Shine ? There Is a Redeemer ? This Is the Day ? We Bow Down ? You Are My All in All ? and more.

Song cycle for medium voice and piano, based upon the poetry of Ivor Gurney and Leonard Clark. A set of pieces very much in the English lyrical vocal writing tradition of Butterworth, Ireland and, of course, Gurney. ' The Pine Boughs Past Music is a song cycle baseed upon poetry associated with Gloucester and was commissioned to celebrate the eightieth anniversary of the Gloucester Music Society. Having purposefully sought inspiration from a wide array of Gloucester poets, from Henley to Harvey, I finally found inspiration in the poetry of Ivor Gurney, whose work is so saturated with the Gloucestershire landscape. In his poetry I discovered the essential element I needed to bind the cycle together: the eternal backdrop of nature upon which the poet's thoughts are played out. It would have been quite easy to conclude the set with another poem by Ivor Gurney. However, it was to and nbsp - Leonard Clark I turned. The title of his summative poem speaks for itself, 'In Memoriam: Ivor Gurney': a haunting elegy that pays tribute to Gurney's everlasting memory.' and nbsp - and nbsp - and nbsp - and nbsp - and nbsp - and nbsp - and nbsp - and nbsp - and nbsp - and nbsp - and nbsp - and nbsp - and nbsp - and nbsp - and nbsp - and nbsp - and nbsp - and nbsp - and nbsp - and nbsp - and nbsp - and nbsp - and nbsp - and nbsp - and nbsp - and nbsp - and nbsp - and nbsp - and nbsp - and nbsp - and nbsp - and nbsp - - Ian Venables First performed on April 15th 2010, at St Mary-de-Lode, Gloucester, performed by Roderick Williams (Baritone) and Andrew West (Pianist). Commissioned by Christine Talbot-Cooper to celebrate the Gloucester Music Society's eightieth anniversary. / Mélodie/Vocal/Piano (MVP)

This comprehensive approach to basic guitar skills includes varied repertoire, theory, detailed instruction about seating and hand position, standard music notation, an introduction to tablature, basic improvisation, and teaches both the pickstyle and fingerstyle techniques. Great for college non-music majors, continuing education classes, music dealer in-store programs, and group guitar classes at the middle and high school levels. Book 1 contains 16 units, each with a variety of repertoire, exercises, and timed tests at the end. Unit 16 provides instructions for playing 11 hit songs. Students can cut out flashcards provided at the back of the book to use for home study. The comb binding creates a lay-flat book that is perfect for study and performance. / Guitare

A unique guide to teaching unaccompanied singing!Gitika Partington's a cappella arrangements are used by youth and community choirs around the world.Gitika believes in the sensational power of group singing bringing people together to express joy and celebration through song. Not being able to read music is no obstacle and Gitika's tips and the original arrangements included here demonstrate just how rewarding and inclusive teaching a cappella by ear and gesture can be!Gitika Partington is a singer/songwriter vocal arranger teacher and choral director. She has an MA in choral education and holds many other musical qualifications. Sheruns regular 'popular and world style' singing workshops as well as national training sessions for adults and children. In addition she runs three adult community choirs where all the music is learned by ear and is mostly self arranged.One of Gitika's major loves is a cappella vocal arranging which she does for her three choirs and her vocal workshops. Her arrangements are used by youth and community choirs across the UK and internationally. This book contains the first of many of her arrangements she would like to share even more widely.She is a member of the Natural Voice Practitioner Network an organisation that believes in singing as a spontaneous way of expressing joy celebration and grief and as a medium for binding communities together. Gitika shares the network's belief that singing together should be available to all and is not about having 'a good voice'. All of her groups are non-audition and open to anyone who wants to sing.

60th Anniversary Edition-Chicago's Old Town School of Folk Music a non-profit organization committed to celebrating American music and global cultures is the largest community school of the arts in the US. Founded in 1957 the school provides a wide range of music and dance classes concerts and drop-in workshops to people of all ages abilities and backgrounds. This songbook is the current iteration of a tradition going back to the founding of the school. Originally issued to new students the pages were punched and placed in a binder so all students could start with the same collection of songs. Each week students and teaching artists gather to study and share music together and this songbook isa living and breathing representation of not only the classroom experience but a repository for notes handouts sketches and scribbles. This 60th anniversary edition features ancient labors of love wrought over hundreds of years of anonymous and credited authorship as well as reference materials for every step of your musical journey.

Singing especially with others binds people together and drives away despair through the spontaneous joy of song. In this buoyant original work each happy verse is built on an alliterative phrase with the other voices singing ding a ding ding! for an irresistible concert moment!

enthält 10 Singpartituren und 1 Klavierpartitur für Chor TTBB-Santiano is German Shanty and Irish Folk/Pop band from north-western Germany (Flensburg area). Here?s their song Der Wind ruft meinen Namen set for male choir with piano accompaniment. Comes in a binder with one piano score (8 pages) and 10 vocal scores (4 pages each) both shrinkwrapped together in one pack. Both piano and vocal scores can be ordered separately from the Bosworth Chor Edition in Cologne.