Format : Accompaniment CD
SKU: HL.49010062
ISBN 9783795761196. UPC: 841886017917. 5.25x7.5x0.108 inches.
Preface * Zeichnung von Graf Mihaly Zichy * Von der Wiege bis zum Grabe: * I. The Cradle. Andante * II. The Struggle for Existence. Adagio rapido * III. To the Grave: the Cradle of the Future Life. Moderato quasi Andante.
SKU: HL.14025909
ISBN 9780853607465. UPC: 888680020279. 8.5x12.0x0.121 inches.
Thea Musgrave's Postcards From Spain is a fascinating travelogue of Spain without being overly Spanish, from the tranquility of sunlight reflecting off still pools to the dramatic song of the Cantaor and his Flamenco guitarist. This little collection of five serenades for solo guitar has been editred by Michael Lorimer is a real treat for guitarists and listeners.
SKU: HL.14022240
ISBN 9780711998193.
Musgrave from Spring to Spring for solo Marimba.
SKU: HL.14020140
9.75x14.25x0.195 inches.
1. EOS: The Goddess of the Dawn, who travelled on the winds and sprinkled down dew upon the earth 2. PAN: The God of the countryside, of flocks, shepherds and animals, a famous player of the syrinx, or pan pipes, - the shepherd's pipe. 3. BOREAS: The God of the North Wind who had two faces - one facing where he was going, the other from whence he came. He was the male counterpart to Eos. 4. CIRCE: The Enchantress who changed men into beasts. Ulysses was given a sprig from a certain plant by Hermes which allowed him to resist her charms. 5. PANDORA: When Pandora was created by Zeus, he ordered all the Gods to endow her with some of their attributes. She was also given a box, but forbidden to open it. Her curiosity about its contents overwhelmed her - she opened it and all the evils of the world flew out. Too late she closed it, but she managed to prevent the escape of Hope. 6. SELENE: The Goddess of the Moon who drives across the night sky in her chariot to visit the sleeping Endymion. She was once seduced by Pan.
SKU: HL.139732
UPC: 888680038885. 6.75x10.5 inches.
From the hushed opening this choral lament grows in sound and intensity to a powerful outpouring of sorrow. The song, originally recorded by Dave Matthews, was arranged for the Minneapolis-based vocal ensemble Cantus. A showpiece!
SKU: WD.080689670237
UPC: 080689670237.
Made popular by Bethel Music comes this uplifting new anthem from arranger Luke Gambill and orchestrator Cliff Duren, Ain’t No Grave. Jesus rose up like a lion and set all captives free. We are no longer bound by death, no longer held down by the grave! Your choir and congregation will shout praises for the victory over the grave!
SKU: CF.CM8923
ISBN 9780825857607. UPC: 798408057602. 6.875 X 10.5 inches. Key: Bb major. Text: Herb Frombach; Robert Lowry. Herb Frombach, Robert Lowry.
SKU: MB.31008M
ISBN 9781513467016. 8.75x11.75 inches.
Blind Lemon Jefferson was a trail blazer, both as a singer and guitarist, but also as a commercial phenomenon, for he was the first blues musician to establish the tremendous appeal that blues, as played and sung by rural African American folk, had for the record-buying public. It is no exaggeration to say that the sales of Lemon’s records paved the way for a host of other solo rural blues musicians to record in his wake and made the record companies more willing to give other musicians a chance, in the hopes of achieving similar success. Lemon’s record sales weren’t what made him a great musician, though - that could only be attributed to his startlingly virtuosic guitar - playing and soulful singing, developed over years of busking, building on his natural gifts with a great deal of practice and work. In the Guitar of Blind Lemon Jefferson author John Miller presents transcriptions, in standard notation and tablature, of 22 of Lemon’s greatest performances, with an additional essay examining Lemon’s senses of time and phrasing and his picking techniques. Also included is a download link to all the original recordings. To present a picture of Lemon the man, noted blues researchers Alan Governar and Kip Lornell have contributed an essay focusing on Lemon’s early life, the origins of his music, and his time spent in a musical partnership with Lead Belly. Links are provided to downloadable performances of the songs in the book from which the transcriptions were made, so that you can have Lemon’s sound in your head as you learn to play his songs.Blind Lemon Jefferson was remarkable, even in a style that abounded in great musicians, and some measure of his influence can be seen in the fact that musicians recorded in the 1960s, more than thirty years after his death, were still covering his songs and stealing guitar licks from him. The Guitar of Blind Lemon Jefferson gives you the resources needed to learn what was so special about Lemon’s music, and to experience his musical excellence from inside the music itself.Titles include: One Dime Blues, Got The Blues, Dry Southern Blues, Big Night Blues, Rabbit Foot Blues, Shuckin' Sugar Blues, Where Shall I Be, Wartime Blues, Black Horse Blues, Prison Cell Blues, Piney Woods Money Mama, See That My Grave Is Kept Clean, He Arose From The Dead, Beggin' Back, Broke And Hungry, Bad Luck Blues, Matchbox Blues, Lemon's Worried Blues, That Crawlin' Baby Blues, Easy Rider Blues, Stocking Feet Blues and Right of Way BluesLevel 2/3 • 160 pages • Direct download link to audio files.Â
SKU: CA.3115611
ISBN 9790007208776. Text language: German/English.
Ich steh mit einem Fuss im Grabe (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle. As in several other cantatas that use texts from this poet, Bach opens the work with a sinfonia, most likely taken from an earlier concerto that didn't survive and is later reused as the slow movement of the famous harpsichord concerto in F minor BWV 1056. In the first aria, the poet combines his text with a well-known chorale, a technique that is often found in Bach's cantatas, particularly those from the pre-Leipzig period. The cantata is comprised of six short movements; the choir is used only in the final chorale. Score and part available separately - see item CA.3115600.
SKU: CA.3115614
ISBN 9790007208806. Text language: German/English.
SKU: CA.3115600
ISBN 9790007186777. Language: German/English.
Ich steh mit einem Fuss im Grabe (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle. As in several other cantatas that use texts from this poet, Bach opens the work with a sinfonia, most likely taken from an earlier concerto that didn't survive and is later reused as the slow movement of the famous harpsichord concerto in F minor BWV 1056. In the first aria, the poet combines his text with a well-known chorale, a technique that is often found in Bach's cantatas, particularly those from the pre-Leipzig period. The cantata is comprised of six short movements; the choir is used only in the final chorale.
SKU: CA.3115619
ISBN 9790007208813. Language: German/English.
Ich steh mit einem Fuss im Grabe (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle. As in several other cantatas that use texts from this poet, Bach opens the work with a sinfonia, most likely taken from an earlier concerto that didn't survive and is later reused as the slow movement of the famous harpsichord concerto in F minor BWV 1056. In the first aria, the poet combines his text with a well-known chorale, a technique that is often found in Bach's cantatas, particularly those from the pre-Leipzig period. The cantata is comprised of six short movements; the choir is used only in the final chorale. Score and parts available separately - see item CA.3115600.
SKU: CA.3115603
ISBN 9790007186784. Language: German/English.
Ich steh mit einem Fuss im Grabe (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle. As in several other cantatas that use texts from this poet, Bach opens the work with a sinfonia, most likely taken from an earlier concerto that didn't survive and is later reused as the slow movement of the famous harpsichord concerto in F minor BWV 1056. In the first aria, the poet combines his text with a well-known chorale, a technique that is often found in Bach's cantatas, particularly those from the pre-Leipzig period. The cantata is comprised of six short movements; the choir is used only in the final chorale. Score available separately - see item CA.3115600.
SKU: WD.080689603235
UPC: 080689603235.
Arranger Marty Parks brings us this upbeat, soulful anthem, Up from the Grave He Arose from his popular 4-song musical, Victory. This fun song will top off your Easter worship service with your whole congregation singing about the victory over death while pulling in lyrics from the classic hymn. Join me in listening to this victorious anthem…With a mighty triumph over His foes, Hallelujah! Christ arose!
SKU: CA.3115621
Text language: German/English.
SKU: CA.3115605
ISBN 9790007186791. Language: German/English.
SKU: CA.3115649
ISBN 9790007208820. Language: German/English.
SKU: CA.3115612
ISBN 9790007208783. Text language: German/English.
SKU: CA.3115613
ISBN 9790007208790. Text language: German/English.
SKU: HL.35016073
UPC: 747510057321. 9x14 inches.
Just as Jesus was resurrected from the dead, so shall believers experience the joy of eternal life in heaven with him. This inspiring anthem begins in minor, telling of Jesus's death, then builds to a thrilling climax: On the other side of the grave is victory! “On the Other Side of the Grave” is a wonderfully dynamic pageant piece for Easter or for anytime when eternal life is the theme.
SKU: MN.56-0053
UPC: 688670220562. English.
Arranged for SATB choir, two keyboards, strings, and optional harp, with soprano, tenor (optional) and baritone soloists, this fresh and unorthodox interpretation reflects on the words of the Latin Mass by juxtaposing them with poems in English. A baritone solo on the English text begins the movement (Do not stand at my grave and weep…) and soon the choir enters to accompany the soloist chordally on the Lacrymosa, dies illa text. That’s the extent of the Latin used in this movement, and the baritone over choir setup continues until the end. Somber and reflective, the choir never sings above mezzo piano. Duration 3:03.
SKU: HL.49009480
ISBN 9790200209877. UPC: 073999828245. 5.25x7.5x0.072 inches.
With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
SKU: HP.9085
UPC: 763628190859.
In Little Seeds you will find new hymns from my heart. My devotional life is given to you in my hymnwriting. During the past three years I have been writing songs for the unity of the church - songs reminding us of our baptism. I have been writing biblical story hymns for lesser-known characters. I have written paperless songs that may be easily memorized. I set a Rumi poem. There are new hymns for Christian missions from everywhere to everywhere. You will find new texts and musical settings for folk songs from around the world. I hope I have treated these with the love and respect they deserve. You will find alternate arrangements of some songs that may be useful in different settings. Lim Swee Hong composed three tunes for this collection at my request. I am also pleased to include Lianne Tan's first published hymn tune in Little Seeds.
SKU: HL.49010206
ISBN 9790200206555. 5.25x7.5x0.092 inches.
SKU: HL.49009771
ISBN 9783795766153. UPC: 073999818543. 5.25x7.5x0.101 inches.
SKU: HL.49001811
ISBN 9790001024136. UPC: 073999276060. 9.0x12.0x0.129 inches.
Right at the beginning of the overture, Telemann comes up with a surprising idea. After the -'bare' entry of the wind section, the string tutti do not join in the playing until the third bar. The 'harlequinade' often appearing in Telemann's overture suites obtains its attraction not least from syncopes and from a permanent change of tone colour. The 'Espagniol' whose title prom-ises a bit of urbanity turns out to be a saraband, the 'Bourree en Trompette' justifies its name by the tone repetitions typical of trumpet music.In the context of the whole, the 'Sommeille', a harmonically unusual movement in C minor, is almost a piece across the border. Even in this gently rocking piece, Telemann is not at a loss for unobtrusive wit when he lets the upper parts die down shortly before the end, only a single bass tone represents the last chord.