SKU: HL.301272
ISBN 9781540064110. UPC: 888680964368. 9.0x12.0x0.337 inches.
The Strum Together series enables players of five different instruments – or any combination of them – to “strum together†on great songs. This easy-to-use format features melody, lyrics, and chord diagrams for five popular folk instruments: standard ukulele, baritone ukulele, guitar, mandolin, and banjo. This collection includes 70 all-time country favorites: Always on My Mind • Boot Scootin' Boogie • Could I Have This Dance • Deep in the Heart of Texas • Friends in Low Places • Green Green Grass of Home • Happy Trails • Hey, Good Lookin' • I Fall to Pieces • Jambalaya (On the Bayou) • King of the Road • On the Road Again • Ring of Fire • Sixteen Tons • Take Me Home, Country Roads • When Will I Be Loved • Your Cheatin' Heart • and more.
SKU: HL.49046367
ISBN 9781540083876. UPC: 840126906288. 7.0x10.5x0.14 inches. English - Latin.
This cycle of five contrasting songs takes its title from the poem of Robert Frost. The various texts in the piece reference both inner space and outer space, both within oneself and in interstellar space. The first song speaks of places of emptiness and fear, but also of home. The second song, with a text by Sappho, references the lovely moon and stars. The third song, with a text by Whitman taken from 'On the Beach at Night Alone', uses the repeated word 'all' to present a sense of the infinite. The fourth song, with a text by William Cullen Bryant, is a fast thrill ride beginning with the words, 'Away, away!'. The cycle ends with a meditation on the words 'Lux Aeterna'. Pierre Jalbert.
SKU: BT.9780713682960
ISBN 9780713682960. English.
This pack combines active listening with practical music making. It gives busy teachers a fingertip resource of recordings of music and related classroom activities, which will help children understand their own and otherpeople's music. The approach is involving, practical and accessible, requiring no music-reading ability.
There are twelve complete recordings of music from different times and places, chosen to demonstrate the elements:duration, dynamics, tempo, timbre, texture, pitch and structure. Photocopiable material is included along with supplementary recordings supporting the activities.
SKU: CF.CM9580
ISBN 9781491154021. UPC: 680160912520. 6.875 x 10.5 inches. Key: D mixolydian. English, Latin. 15th Century Medieval Carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherds response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassthe distance between the highest and lowest noteis at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherdas response in the gospel of Luke 2:15, Transeamus. Latin phraseA translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassathe distance between the highest and lowest noteais at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pares forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written.The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd’s response in the gospel of Luke 2:15, Transeamus.Latin phrase translation sourceAlleluia Alleluia LaetabundusRes miranda A thing to be wondered at LaetabundusPares forma of equal form LaetabundusGaudeamus Let us rejoice! GaudeamusTranseamus Let us go Luke 2:15The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty.The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists.Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass—the distance between the highest and lowest note—is at its widest.The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
SKU: HL.49046544
ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches.
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti).
SKU: CL.026-4536-01
Gustav Holst’s First Suite in Eb For Military Band is universally considered a band masterwork. This Build-A-Band edition places it within reach of those bands with severely limited or awkward instrumentation, making it the perfect selection for your small band with good players to sound great! This fast middle movement from the suite teaches young musicians to articulate contrasting staccato and legato passages. Optional parts for guitar, piano, bass and percussion can fill some missing holes in the band. (Also available in the Build-A-Band series: the first and third movements of this suite.).
About Build-A-Band Series
The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.)
SKU: HL.1155283
ISBN 9781888408539. UPC: 196288122562. 8.5x11.0x0.544 inches.
This memoir by Karl Dustman details his illustrious music industry career. Dustman began his professional career in music retail, leading to a sales forecaster for IBM. This opened the door to an executive position with Ludwig Drum Company where he spent 11 years in the marketing and educational departments. Executive-level stints with Gretsch, Hohner-Sonor-Sabian, Pearl, and Sonor gave Karl great insight into the percussion industry of the 1970's through the '80s, '90s, and into the current era, which he shares here in intimate detail. Striking out on his own as a marketing consultant, Karl worked not only with numerous music industry clients, but other businesses which further developed his skill set. Along the way, Karl authored numerous articles to share his percussion marketing expertise; many are included in the book's appendix. Also included are capsule histories of the Ludwig and Gretsch drum companies, and a good look at the inner workings of the Percussion Marketing Council for the past nineteen years. Pretty much anyone who has worked in the percussion industry over the last five decades has crossed paths with Karl Dustman. This book has been painstakingly written to provide insights and details to a career that spans over fifty-five years and continues to this day. The huge assortment of photos, internal documents, examples of the many different marketing, sales, promotional product launch materials, and massive trade show exhibits are included in each of the nine chapters. The personal stories and memorable moments illustrates an ever-changing industry filled with products, people, company mergers, brand acquisitions, and personal uncertainty for the future through five decades of career development. This could also serve as an industry textbook, illustrating the vast differences in the industry's retail, wholesale distribution, and manufacturing environments and workplaces. The journey is not limited to percussion but includes direct experiences with acoustic and digital pianos, electric, acoustic, and classical guitars, and even sound reinforcement.
SKU: HL.1155284
ISBN 9781888408591. UPC: 196288122579. 8.75x11.5x0.776 inches.
SKU: CA.7006509
ISBN 9790007244729. Language: German.
In spring 1816 Franz Schubert, just nineteen years old, completed his second setting of the Stabat Mater in the midst of a highly productive period. In contrast with his first setting written the previous year, just five minutes in length, this time Schubert used the German translation by Klopstock as the basis for his composition. Stefan Schuck's edition is the first one of this work to be based on a critical evaluation of the primary sources, with complete performance material. The work, in a dark F minor, with its text by Klopstock, places Jesus Christ, rather than Mary, at the center of the contemplation. With his fugues, but particularly in the eight-part lamenting chorus Wer wird Zahren sanften Mitleids, Schubert shows himself at the height of his creative output. He composed his 4th Symphony, the Tragic, at almost the same time. The Stabat Mater is a rewarding work for choral societies and choirs to perform, because the choir has the largest portion to sing, and the choral parts are not too demanding. The composition is also a beautiful introduction to the choral-symphonic music of Schubert for less experienced choirs. Score and parts available separately - see item CA.7006500.
SKU: CA.7006503
ISBN 9790007166007. Language: German.
In spring 1816 Franz Schubert, just nineteen years old, completed his second setting of the Stabat Mater in the midst of a highly productive period. In contrast with his first setting written the previous year, just five minutes in length, this time Schubert used the German translation by Klopstock as the basis for his composition. Stefan Schuck's edition is the first one of this work to be based on a critical evaluation of the primary sources, with complete performance material. The work, in a dark F minor, with its text by Klopstock, places Jesus Christ, rather than Mary, at the center of the contemplation. With his fugues, but particularly in the eight-part lamenting chorus Wer wird Zahren sanften Mitleids, Schubert shows himself at the height of his creative output. He composed his 4th Symphony, the Tragic, at almost the same time. The Stabat Mater is a rewarding work for choral societies and choirs to perform, because the choir has the largest portion to sing, and the choral parts are not too demanding. The composition is also a beautiful introduction to the choral-symphonic music of Schubert for less experienced choirs. Score available separately - see item CA.7006500.
SKU: CA.7006513
ISBN 9790007244705. Language: German.
In spring 1816 Franz Schubert, just nineteen years old, completed his second setting of the Stabat Mater in the midst of a highly productive period. In contrast with his first setting written the previous year, just five minutes in length, this time Schubert used the German translation by Klopstock as the basis for his composition. Stefan Schuck's edition is the first one of this work to be based on a critical evaluation of the primary sources, with complete performance material. The work, in a dark F minor, with its text by Klopstock, places Jesus Christ, rather than Mary, at the center of the contemplation. With his fugues, but particularly in the eight-part lamenting chorus Wer wird Zahren sanften Mitleids, Schubert shows himself at the height of his creative output. He composed his 4th Symphony, the Tragic, at almost the same time. The Stabat Mater is a rewarding work for choral societies and choirs to perform, because the choir has the largest portion to sing, and the choral parts are not too demanding. The composition is also a beautiful introduction to the choral-symphonic music of Schubert for less experienced choirs. Score and part available separately - see item CA.7006500.
SKU: HL.14042638
ISBN 9781847729965.
For the first time, this pocket-sized collection brings together all the big songs by The Jam and The Style Council alongside classics from Paul Weller's acclaimed solo albums.78 classics are presented in chordsongbook format with chord symbols, guitar chord boxes and complete lyrics, this is the ultimate Paul Weller songbook!
