/ 4 Parties Voix Aigues (SSAA) Et Cornemuse Ou En Partition Instrument En Do Ou Si
SKU: HL.14024382
ISBN 9780853606680. 8.25x11.75x0.125 inches.
Over The Hills And Far Away is a characteristically refreshing look at some very well-known tunes. The upper part of the duet might be played by younger pianists with an advanced player taking the lower part, and as such are ideal for teaching and concert performance. This volume is approximately Grades II-III Primo part, and Grade V Secondo.
SKU: ST.Y279
ISBN 9790220223068.
Such is the character of the accordion that any work featuring its distinctive voice within an ensemble is likely to be a piece d'occasion. Written for the prizewinning young soloist Milos Milivojevic and performed with the Juritz String Quartet at the 2011 Machynlleth Festival in Wales, Rhian Samuel's Mist on the Hills is no exception. The composer has used the rare opportunity of writing for the instrument in combination with solo strings to exploit its illustrative powers and create a fourteen-minute score inspired by the changing weather over the hills around her Welsh home on the Dyfi Estuary. In particular, its three movements are suggestive of the appearance of mist in the landscape, 'settling', 'lingering' and 'swirling'. In the first movement, which is a gentle prelude, brief accordion motifs break through the timbre of strings like glints of sunshine through mist. The second movement, more song-like, presents three verses of a lament; in the first half of each verse the accordion sings as if from afar, while in the second half (led by the viola) the music intensifies greatly. In the dance-like and virtuosic last movement a short, constantly changing refrain alternates with two types of material: 'swirling' music and lighter, more rhythmical ideas. Finally, scale passages invade the texture, ceasing only as the accordion ascends to the top of its range in the closing bars.
SKU: HL.368695
ISBN 9781705141779. UPC: 840126969085. 9.0x12.0x0.289 inches.
This collection of 27 pieces, transcribed and edited by the Howells scholar Jonathan Clinch and published for the first time to coincide with Matthew Schellhorn's recording of the complete piano music by Howells for Naxos, reveals a previously neglected aspect of this celebrated English composer. The pieces chart the musical development of Howells, from his earliest known work “The Arab's Song,†written when he as 16, to the “Petrus Suite,†completed in his 80s, as well as demonstrating his fascination with French music (“Phantasy,†“Harlequin Dreamingâ€) and the Tudor period (“Pavane†and “Galliard.â€) The volume also includes the moving tribute to his friend and fellow composer Finzi. Comprising a wide array of pieces from characterful miniatures to more substantial suites, the collection will appeal to Howells devotees and lovers of 20th century English music, as well as to anyone seeking fresh and distinctive piano repertoire. Includes: The Arab's Song • To a Wild Flower • Romance • Melody • Legend • Summer Idyls: I. Meadow-Rest • II. Summer-Song • III. June-Haze • IV. Down the Hills • V. Quiet Woods • VI. Near Midnight • VII. In the Morning • Phantasy • Harlequin Dreaming • Minuet for Ursula • My Lord Harewood's Galliard • Finzi: His Rest • Siciliana • “Comme le cerf soupire...†• Pavane and Galliard • Petrus Suite: Finnicle's Scherzo • Gavotte • Vagrant Flute • Minuet • 'Sine Nomine' • Bassoonic's Dance • Odd's Minuet • Toccatina.
SKU: HL.278488
ISBN 9781540029997. UPC: 888680753689. 9.0x12.0x0.264 inches.
The Deluxe Guitar Play-Along series will help you play songs faster than ever before with accurate, easy-to-read guitar tab and professional, customizable play-along audio for 15 songs. The interactive, online audio interface includes tempo/pitch control, looping, buttons to turn instruments on or off, and guitar tab with follow-along marker. The tracks can be streamed or downloaded and played offline. This volume features 15 favorites: Ain't No Sunshine * All Along the Watchtower * Bad Moon Rising * Beverly Hills * Can't You See * Evil Ways * I Still Haven't Found What I'm Looking For * The Joker * Just the Way You Are * Ring of Fire * Stir It Up * Twist and Shout * What I Got * What's Up * Wicked Game.
About Hal Leonard Guitar Play-Along Series
The Guitar Play-Along Series will help you play your favorite songs quickly and easily. Just follow the tab, listen to the CD to hear how the guitar should sound, and then play along using the seperate backing tracks. The melody and lyrics are also included in the book in case you want to sing, or to simply help you follow along.
SKU: FP.FBS03
ISBN 9790570500192.
Sarah Baker is Vocal Composer in Residence at Education Music Services, an ABRSM examiner and a well known composer of songs and musicals for primary schools and massed-choral events.All this experience has come together in the creation of this album of piano pieces, inspired by growing up in the Chiltern Hills. Suitable for players of around grade 4-5 standard, her evocative sound pieces describe a crash-landing hot air balloon, garden invading cows and a even a snake in a pond!Air Balloon!: One vivid memory I have as a child is of the day that a hot air balloon passed over our house and made an emergency landing on the road in front! The sound of the gas being blown into the balloon to try to keep it high enough to pass the house sounded so loud and intimidating, and then there was the bustle of the neighbours as we all went out into the street to watch. It was both terrifying and exhilarating to watch the balloon float past and then land so near by.Buzzards Circling: There is something so calming and restful about watching birds of prey circling in the thermal currents of a summer sky. Growing up in the Chilterns gave me plenty of opportunity to watch buzzards and red kites. This piano solo captures the beauty of their flight as they glide so effortlessly through the air.There’s A Cow In The Garden Eating The Flowers: Inspired by the memory of seeing an unexpected cow in the garden! This surreal image is captured in a quirky waltz, as I portray both the absurdity of the moment and the sense of wonder I felt as a child, looking out of the window and seeing the cow walking round and eating the flowers. The final phrase articulates my longing: ‘I wish it would come again’.Watching The World Go By: A short, reflective piece, remembering what it was like to have time to just sit and watch the world go by from my bedroom window.Autumn Skies: A miniature about the beauty of Autumn skies and the poignant sense of loss for a summer gone. Friends I was fortunate to have several children of my own age living close by. We seemed to be forever making dens, playing out in the street and generally enjoying each other’s company. This piece reflects that sense of well-being.Snake In The Pond: One hot summer I was astonished and scared to see a grass snake cooling off in our garden pond! I watched, both horrified and fascinated, as it rose up from the depths and then disappeared again. Here I portray the sense of the hazy summer afternoon as I peacefully watched the tiny movements of fish in the pond, contrasted with the fear and excitement of seeing the snake appear.Morning Commute: I recollect many mornings stuck in traffic as my Dad took me to school on his way to work. There is one main road out of the village where I grew up, and that got more and more congested the closer we got to the town. We may not have chatted a lot, but it was always good to be together with my Dad, lost in our own thoughts.The Witch’s Cottage: My siblings and I had a fascination with a small cottage nearby. It was set back from the road in a dark part of the woods and we called it 'the witch's cottage’. Every time we passed, I imagined I heard the distant cackle of the witch and wished I could catch a glimpse of her.These pieces are written to complement my other collection, Night Time Impressions, which also draw on childhood recollections, particularly of the woods behind the house where I grew up. - Sarah Baker 2023.
SKU: HL.287559
ISBN 9781540043313. UPC: 888680904715. 9.0x12.0x0.299 inches.
This one-of-a-kind collection presents accessible, must-know songs from the Beatles and Bob Dylan to Dave Matthews Band and Tom Petty for those who have been learning 12-string guitar and are eager to put their new skills to work. You'll find a combination of tab, chords and lyrics for 50 great songs, including: California Dreamin' • Carry On • Closer to the Heart • Do You Believe in Magic • Free Fallin' • Give a Little Bit • A Hard Day's Night • Hotel California • Leaving on a Jet Plane • Life by the Drop • Like the Way I Do • Melissa • Mr. Tambourine Man • More Than a Feeling • The One I Love • Over the Hills and Far Away • Solsbury Hill • Space Oddity • Still the Same • Turn! Turn! Turn! (To Everything There Is a Season) • The Waiting • Wish You Were Here • You Wear It Well • and more!
About First 50
You've been taking lessons, you've got a few chords under your belt, and you're ready to buy a songbook. Now what? Hal Leonard has the answers in its First 50 series. The First 50 series steers new players in the right direction. These books contain easy to intermediate arrangements for must-know songs. Each arrangement is simple and streamlined, yet still captures the essence of the tune.
SKU: CF.CM9576
ISBN 9781491153987. UPC: 680160912483. 6.875 x 10.5 inches. Key: G minor. English. Emily Dickinson (1830-1886) , Walt Whitman (1819-1892).
The two pieces, Who Robbed the Woods? and O Cool is the Valley Now, combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinsons poem considers the ways in which people use and exploit trees for their own purposes and asks, on the trees behalf, who would do such a thing? Whitman ponders a trees silent majesty and power and its ability to be yet say nothing at all. The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 712. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 3953). O Cool is the Valley Now also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this modes lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 910, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, aWho Robbed the Woods?a and aO Cool is the Valley Now,a combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinsonas poem considers the ways in which people use and exploit trees for their own purposes and asks, on the treesa behalf, who would do such a thing? Whitman ponders a treeas silent majesty and power and its ability to be ayet say nothing at all.a The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7a12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39a53). O Cool is the Valley NowA also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this modeas lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9a10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, aWho Robbed the Woods?a and aO Cool is the Valley Now,a combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinsonas poem considers the ways in which people use and exploit trees for their own purposes and asks, on the treesa behalf, who would do such a thing? Whitman ponders a treeas silent majesty and power and its ability to be ayet say nothing at all.a The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7a12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39a53). O Cool is the Valley NowA also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this modeas lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9a10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, Who Robbed the Woods? and O Cool is the Valley Now, combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinson's poem considers the ways in which people use and exploit trees for their own purposes and asks, on the trees' behalf, who would do such a thing? Whitman ponders a tree's silent majesty and power and its ability to be yet say nothing at all. The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7-12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39-53). O Cool is the Valley Now also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this mode's lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9-10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, Who Robbed the Woods? and O Cool is the Valley Now, combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinson's poem considers the ways in which people use and exploit trees for their own purposes and asks, on the trees' behalf, who would do such a thing? Whitman ponders a tree's silent majesty and power and its ability to be yet say nothing at all. The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7-12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39-53). O Cool is the Valley Now also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this mode's lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9-10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, “Who Robbed the Woods?†and “O Cool is the Valley Now,†combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us.The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinson’s poem considers the ways in which people use and exploit trees for their own purposes and asks, on the trees’ behalf, who would do such a thing? Whitman ponders a tree’s silent majesty and power and its ability to be “yet say nothing at all.â€The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7–12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39–53).O Cool is the Valley Now also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this mode’s lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9–10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.
SKU: HL.14065890