Format : Score
SKU: HH.HH552-FSP
ISBN 9790708185673.
The Exeter Book is a collection of many different writings and is generally acknowledged to be one of the great works of the English Benedictine revival of the tenth century. Among the other texts in the Exeter Book, there are over ninety riddles or kennings. The difference between a riddle and a kenning, is that the answer to a riddle is in itself meaningless - a means to an end, a guessing game. The Kennings of the Exeter Book, on the other hand, are part of an ancient tradition of learning through memorable metaphor, much valued in the Anglo-Saxon world.
SKU: HL.49046082
ISBN 9784111690244. 9.0x12.0 inches.
SKU: CF.CM9578
ISBN 9781491154007. UPC: 680160912506. 6.875 x 10.5 inches. Key: E minor. English. William C. Dix.
This is a very well known and beloved tune dating from the time of Henry the VIII in Britain. Therefore, there are lots of slight variations in how people have learned this tune. Please be very careful to make sure all singers agree on the notes actually written. This will make the singers the listeners much more comfortable with your performance. The consonant combination th is very difficult for listeners to hear. Singers should work diligently to be very intentional to articulate the text throughout. The verses are all built in two similar four-measure phrases. Even though the destinations are different, both phrases end with echo words. Therefore, please be careful to sing the second syllable softer than the first. For example,sleep-ing, keep-ing, in the verses. In the repeated refrains, please sing Ma-ry in the same way; it too is an echo word. To bring laud is to bring praise and adoration. A mean estate does not equal angry; it refers to a place of poverty. Part of the reason this is such a well-known and beloved tune is that it is very singable and very lovely. Therefore, when you sing it, always work toward making your very best sound and very best face. You will enjoy your performance more and so will your listeners.This is a very well known and beloved tune dating from the time of Henry the VIII in Britain. Therefore, there are lots of slight variations in how people have learned this tune. Please be very careful to make sure all singers agree on the notes actually written. This will make the singersA the listeners much more comfortable with your performance. The consonant combination th is very difficult for listeners to hear. Singers should work diligently to be very intentional to articulate the text throughout. The verses are all built in two similar four-measure phrases. Even though the destinations are different, both phrases end with echo words. Therefore, please be careful to sing the second syllable softer than the first. For example,sleep-ing, keep-ing, in the verses. In the repeated refrains, please sing Ma-ry in the same way; it too is an echo word. To bring laud is to bring praise and adoration. A mean estate does not equal angry; it refers to a place of poverty. Part of the reason this is such a well-known and beloved tune is that it is very singable and very lovely. Therefore, when you sing it, always work toward making your very best sound and very best face. You will enjoy your performance more and so will your listeners.This is a very well known and beloved tune dating from the time of Henry the VIII in Britain. Therefore, there are lots of slight variations in how people have learned this tune. Please be very careful to make sure all singers agree on the notes actually written. This will make the singersA the listeners much more comfortable with your performance. The consonant combination th is very difficult for listeners to hear. Singers should work diligently to be very intentional to articulate the text throughout. The verses are all built in two similar four-measure phrases. Even though the destinations are different, both phrases end with echo words. Therefore, please be careful to sing the second syllable softer than the first. For example,sleep-ing, keep-ing, in the verses. In the repeated refrains, please sing Ma-ry in the same way; it too is an echo word. To bring laud is to bring praise and adoration. A mean estate does not equal angry; it refers to a place of poverty. Part of the reason this is such a well-known and beloved tune is that it is very singable and very lovely. Therefore, when you sing it, always work toward making your very best sound and very best face. You will enjoy your performance more and so will your listeners.This is a very well known and beloved tune dating from the time of Henry the VIII in Britain. Therefore, there are lots of slight variations in how people have learned this tune. Please be very careful to make sure all singers agree on the notes actually written. This will make the singers the listeners much more comfortable with your performance. The consonant combination th is very difficult for listeners to hear. Singers should work diligently to be very intentional to articulate the text throughout. The verses are all built in two similar four-measure phrases. Even though the destinations are different, both phrases end with echo words. Therefore, please be careful to sing the second syllable softer than the first. For example,sleep-ing, keep-ing, in the verses. In the repeated refrains, please sing Ma-ry in the same way; it too is an echo word. To bring laud is to bring praise and adoration. A mean estate does not equal angry; it refers to a place of poverty. Part of the reason this is such a well-known and beloved tune is that it is very singable and very lovely. Therefore, when you sing it, always work toward making your very best sound and very best face. You will enjoy your performance more and so will your listeners.This is a very well known and beloved tune dating from the time of Henry the VIII in Britain. Therefore, there are lots of slight variations in how people have learned this tune. Please be very careful to make sureall singers agree on the notes actually written. This will make the singers the listeners much more comfortable with your performance.The consonant combination th is very difficult for listeners to hear. Singers should work diligently to be very intentional to articulate the text throughout.The verses are all built in two similar four-measure phrases. Even though the destinations are different, both phrases end with echo words. Therefore, please be careful to sing the second syllable softer than the first. For example,sleep-ing, keep-ing, in the verses. In the repeated refrains, please sing Ma-ry in the same way; it too is an echo word.To bring laud is to bring praise and adoration. A mean estate does not equal angry; it refers to a place of poverty.Part of the reason this is such a well-known and beloved tune is that it is very singable and very lovely. Therefore, when you sing it, always work toward making your very best sound and very best face. You will enjoy your performance more and so will your listeners.
SKU: CL.028-4335-01
An outstanding collection of four jazz charts for young bands that includes: [barnhouse_sample type=listen sku=030-2304-00 label=TIME OUT by Ken Harris] [barnhouse_sample type=listen sku=031-2580-00 label= JUST BEFORE I CLOSE MY EYES by Larry Neeck] [barnhouse_sample type=listen sku=031-3104-00 label= THE PREACHER MAN by James Swearingen] [barnhouse_sample type=listen sku=030-2289-00 label= LOW RIDER by Paul Clark] The set includes a swing tune, a ballad and two rock tunes and will provide your group with quality teaching materials as well as audience friendly music that is sure please. You get the full set of four charts for less than half of the cost of the tunes if purchased separately. Full Performance recordings of all four charts can be downloaded here:.
SKU: CL.028-4335-00
SKU: HL.1428501
UPC: 196288202677. 6.75x10.5x0.036 inches.
Ken Burton's “Swing Down, Chariot,” showcased in the Jason Max Ferdinand Choral Series, intricately weaves a tapestry of musical genres intrinsic to Black American sacred music. This arrangement harmonizes African influences, quartet styles, close harmony jazz, big band, and classical elements, delivering a vibrant and diverse sonic landscape. While its entertaining aspects shine, the piece maintains a heartfelt essence, reflecting a deep yearning for freedom. Inspired by twentieth-century gospel quartets like the Fairfield Four and Golden Gate Quartet, Burton's arrangement infuses percussive articulation and dynamic flexibility. Choirs are encouraged to explore creative articulation options, ensuring a spirited and engaging rendition. Ideal for collegiate, chamber, honor, and all-state choirs, this arrangement captivates effortlessly, resonating with its rich musical essence. Excellent choice for your advanced and professional choirs. You can never go wrong with a Ken Burton arrangement or composition.
SKU: PR.114418820
ISBN 9781491113998. UPC: 680160667697.
Composed by Telemann as a double concerto for recorder and transverse flute, Zart Dombourian-Eby’s new edition is prepared for piccolo, flute, and piano — remaining compatible with available orchestral editions, and respectfully faithful to Telemann’s detailed nuances. Cast in the slow-fast, slow-fast four-movement mold typical of Baroque concert works, the CONCERTO IN E MINOR is at once among the most beautiful and exhilarating works of Telemann’s formidable output.______________________________________Text from the scanned back cover:ZART DOMBOURIAN-EBY is the Principal Piccoloist of the SeattleSymphony and is regularly featured as both a soloist and clinician in Seattle and across the world. Her performances consistently receive highest praise from both critics and audiences. A native of New Orleans, she received B.A. and M.M. degrees from Louisiana State University. After a year of study with Albert Tipton she attended Northwestern University earning a Doctor of Music degree under the tutelage of Walfrid Kujala. She has been a member of the New Orleans Pops, Baton Rouge Symphony, Colorado Philharmonic, and the Civic Orchestra of Chicago. She has performed with the Chicago Symphony and served on the faculties of the University of Washington and Pacific Lutheran University. She was the founding editor of Flute Talk and ison the Editorial Board for The Flutist Quarterly. Zart is the immediate past president of the National Flute Association, and been a featured soloist and presenter at numerous NFA conventions. Zart has commissioned numerous works, including two for piccolo and piano by Martin Amlin, sonatas by Gary Schocker and Levente Gyongyosi, and a chamber work by Ken Benshoof. She can be heard in over 100 recordings by the Seattle Symphony, and her solo CD, in shadow, light, is available on Crystal Records. Her award-winning edition of the three Vivaldi piccolo concertos is published by Theodore Presser.A native of Seattle, VALERIE SHIELDS received her B.M. summa cum laude in organ and violin from St. Olaf College. While completing her M.M. from Northwestern University, she became increasingly interested and skilled in the art of improvisation. She served as Director of Music at St. Luke’s Lutheran Church in Park Ridge, Illinois, where she developed a music program involving over 150 participants in choirs and chamber music groups.Upon her return to Seattle, she served for 12 years as director of adivision of the Northwest Girlchoir. She became organist and developed a vibrant Youth Choir at Phinney Ridge Lutheran Church, where she served for over 30 years, as well as enjoying a 20-year tenure as Music Director and Composer-in-Residence of Temple De Hirsch Sinai. Valerie’s work with children’s choirs,churches, and synagogues has inspired over 100 published compositions.When I was invited to perform a Vivaldi piccolo concerto in Italy a few years ago, my host, Luisa Sello, wrote that Carol Wincenc was going to be on the same concert, and was there any piece that we could play together? I looked and asked around, and my colleague Joanna Bassett recommended the Telemann Concerto in E Minor for Traverso and Recorder. I didn’t know the piece, but as I listened to a recording of it, I immediately loved it and could easily envision how beautifully it could work, with a few “adjustments,†for flute and piccolo. I got to work, and the current publication is the result. I have performed it many times, and enjoy it even more every time. It fits a unique place in our repertoire, and works equally well with piano as with the string orchestra setting.According to Steven D. Zohn, pre-eminent Telemann scholar, and author of Music for a Mixed Taste: Style, Genre, and Meaning in Telemann’s Instrumental Works, much is unknown about the concerto itself; it likely dates from the 1720s, soon after Telemann moved to Hamburg. Only an eighteenth-century copyist’s set of parts is extant, that of Johann Samuel Endler, who was engaged at the Darmstadt court as a singer and violinist, later becoming Vice-Kapellmeister and Kapellmeister, and who had a large collection of Telemann’s works.As in my Vivaldi concertos edition (Presser 414-41190), I have added virtually all of the articulations and dynamics that appear here, and have inserted quite a bit of ornamentation. Unlike the Vivaldi edition, I have not included any indication of the original Telemann in those passages, nor have I included any pedagogical markings, such as fingerings.Finally, I would like to acknowledge, with gratitude, Joanna Bassett, Daniel Dorff, Benton Gordon, Evan Pengra-Sult, Sandra Saathoff, Valerie Shields, Carol Wincenc, and Steven Zohn, for the various roles they played in the making of this publication.— Zart Dombourian-EbyJune 2018.
SKU: HL.35024759
UPC: 747510071556. 8.5x11 inches.
Ken Baird has created music that is exciting and enjoyable, music that has movement, dynamic contrast, and stylistic interest, and music that is interesting for both young performers and young audiences alike. Each of the 3 sets contains four individual pieces. Pricing will make these sets a bargain for directors of young orchestras. Optional Violin 3 parts are available to reinforce or substitute for viola. A piano part, which is not required for performance, is included to be helpful to beginning orchestras.Set 2 includes:• The Great Wall• Fiesta• Celtic Roots• Heroic Adventure
SKU: CL.028-4245-00
A budget stretching pack of jazz tunes for first year jazz ensembles. This outstanding set provides two rock tunes, a swing tune and a ballad and provides your group with quality materials to get their jazz band started on a very positive note. [barnhouse_sample type=listen sku=030-0399-00 label=STARTING POINT by Bob Lowden] [barnhouse_sample type=listen sku=030-2203-00 label=BOTTOM LINE by Andy Clark] [barnhouse_sample type=listen sku=031-2474-00 label=I'LL JUST PRETEND by Les Aldrich] [barnhouse_sample type=listen sku=031-2535-00 label=A ROCK by Ken Harris] All the arrangements are real audience pleasers and you get the whole set for less than half of cost of the same tunes if purchased separately. Four great arrangements for only $19.50 each. A great value in every respect!
SKU: CL.028-4245-01
SKU: HL.35024760
UPC: 888680046606. 8.5x11 inches.
SKU: BT.EMBZ14604
Hungarian-English-German-French.
This attractive volume contains easy piano pieces written for music school students by thirteen present-day Hungarian composers. The majority of these miniature compositions can be played even by beginners, and the most technically difficult works can also be tackled after three or four years study. Both the title-page and the colourful illustrations that accompany the individual pieces help to raise children s interest and stimulate their imagination.Der attraktiv gestaltete Band beinhaltet leichte Klavierstücke von dreizehn zeitgenössischen ungarischen Komponisten für Musikschüler. Den Großteil der miniaturartigen, zwei-dreizeiligen Kompositionen können die Schüler schon als Anfänger spielen, und nach drei-vier jährigem Studium werden sie selbst die technisch schwierigsten Stücke bewältigen. Nicht nur das Titelblatt, sondern auch die Illustrationen der einzelnen Stücke helfen den Kindern dabei, ihre Aufmerksamkeit zu wecken und ihre Phantasie anzuregen (Bärchen träumt von Himbeeren, Kleine Küken, Jagen, Fangspiel usw.).
SKU: CL.028-4333-01
Got the end of the year empty budget blues? Program your beginning band's spring concert with this great value of four beginning band selections in one bargain-priced package! Includes: PATRIOTS ON PARADE MARCH by Ken Harris AS THE EAGLE FLIES by James Swearingen SONG OF THE TELEGRAPH by David Shaffer TACO TIME by Ed Huckeby.
