Sweet By and By

SKU: HL.214301

UPC: 888680663902. 5.0x5.0x0.185 inches.

The title track from James Taylors breakthrough album of the same name in 1970, this sweet song in triple meter evokes dual impressions of childhood and of the lone traveler and will fill your performance space with a warm, nostalgic glow!

SKU: HL.214303

UPC: 888680663926. 6.75x10.5x0.029 inches.

The title track from James Taylors breakthrough album of the same name in 1970, this sweet song in triple meter evokes dual impressions of childhood and of the lone traveler and will fill your performance space with a warm, nostalgic glow!

SKU: CF.CM9572

ISBN 9781491153666. UPC: 680160911165. 6.75 x 10.5 inches. Key: Gb major. English. Sanford F. Bennett (1836-1898).

Aaron Humble's arrangement of this beloved old favorite from American hymnody is appropriate for both school and church. With soaring obligato lines and shimmering harmony, when sung with a warm and gentle tone,?The Sweet By and By??is certain to paint a picture of a better time for us all to look forward. Also available for TTBB Voices (CM9571).
I have great memories of my family gathering around the piano to sing hymns. As my sisters and I learned more about music through lessons, band, and choir, we started adding harmony and really making music. The old American hymnody really holds a special place in my heart. Webster set Bennett's text in a time when American theology had taken a turn away from earlier ideas where God was a god of vengeance and anger. In this new era of optimism, God became more familiar, more loving, and more reassuring. With this in mind, this arrangement should be sung with a warm and gentle tone allowing the dissonances to shimmer, the sweetness of the harmonies to bloom, and the obbligato lines to soar.

SKU: CF.CM9594

ISBN 9781491154168. UPC: 680160912667. 6.875 x 10.5 inches. Key: Bb major. English. Alfred Tennyson. Alfred, Lord Tennyson (1809-1892).

The text of Alfred, Lord Tennyson's There is Sweet Music Here is a wonderful example of word painting. Keep this in mind while learning to sing the music and try to capture the different scenes created through these famous words. The first two measures of accompaniment outline the opening chord in the voices. Crescendo to the word music every time it occurs. In mm. 710, the vocals cascade gently into a dissonance that develops into a full, rich sound. Allow the piano to support the unison lines in mm. 1417 as well as those that contain three-part singing. The piano establishes a consistent undulating tempo in mm. 2225, as if lulling someone to sleep. Be intentional with word/syllabic stress when singing through the quarter notes. Maintain a consistent tempo when singing the eighth notes in mm. 3336. The chord progression helps establish the coolness of the mosses and ivies. Notice the melodic movement in mm. 3738 reflecting the craggy ledge and hanging poppy followed by the unison sleep which ushers in the return of the original melody within the accompaniment. Linger with quiet, full and supported singing during the last three measures.
The text of Alfred, Lord Tennyson'sA There is Sweet Music HereA is a wonderful example of word painting. Keep this in mind while learning to sing the music and try to capture the different scenes created through these famous words. The first two measures of accompaniment outline the opening chord in the voices. Crescendo to the word music every time it occurs. In mm. 7a10, the vocals cascade gently into a dissonance that develops into a full, rich sound. Allow the piano to support the unison lines in mm. 14a17 as well as those that contain three-part singing. The piano establishes a consistent undulating tempo in mm. 22a25, as if lulling someone to sleep. Be intentional with word/syllabic stress when singing through the quarter notes. Maintain a consistent tempo when singing the eighth notes in mm. 33a36. The chord progression helps establish the coolness of the mosses and ivies. Notice the melodic movement in mm. 37a38 reflecting the craggy ledge and hanging poppy followed by the unison sleep which ushers in the return of the original melody within the accompaniment. Linger with quiet, full and supported singing during the last three measures.
The text of Alfred, Lord Tennyson'sA There is Sweet Music HereA is a wonderful example of word painting. Keep this in mind while learning to sing the music and try to capture the different scenes created through these famous words. The first two measures of accompaniment outline the opening chord in the voices. Crescendo to the word music every time it occurs. In mm. 7a10, the vocals cascade gently into a dissonance that develops into a full, rich sound. Allow the piano to support the unison lines in mm. 14a17 as well as those that contain three-part singing. The piano establishes a consistent undulating tempo in mm. 22a25, as if lulling someone to sleep. Be intentional with word/syllabic stress when singing through the quarter notes. Maintain a consistent tempo when singing the eighth notes in mm. 33a36. The chord progression helps establish the coolness of the mosses and ivies. Notice the melodic movement in mm. 37a38 reflecting the craggy ledge and hanging poppy followed by the unison sleep which ushers in the return of the original melody within the accompaniment. Linger with quiet, full and supported singing during the last three measures.
The text of Alfred, Lord Tennyson's There is Sweet Music Here is a wonderful example of word painting. Keep this in mind while learning to sing the music and try to capture the different scenes created through these famous words. The first two measures of accompaniment outline the opening chord in the voices. Crescendo to the word music every time it occurs. In mm. 7-10, the vocals cascade gently into a dissonance that develops into a full, rich sound. Allow the piano to support the unison lines in mm. 14-17 as well as those that contain three-part singing. The piano establishes a consistent undulating tempo in mm. 22-25, as if lulling someone to sleep. Be intentional with word/syllabic stress when singing through the quarter notes. Maintain a consistent tempo when singing the eighth notes in mm. 33-36. The chord progression helps establish the coolness of the mosses and ivies. Notice the melodic movement in mm. 37-38 reflecting the craggy ledge and hanging poppy followed by the unison sleep which ushers in the return of the original melody within the accompaniment. Linger with quiet, full and supported singing during the last three measures.
The text of Alfred, Lord Tennyson's There is Sweet Music Here is a wonderful example of word painting. Keep this in mind while learning to sing the music and try to capture the different scenes created through these famous words. The first two measures of accompaniment outline the opening chord in the voices. Crescendo to the word music every time it occurs. In mm. 7-10, the vocals cascade gently into a dissonance that develops into a full, rich sound. Allow the piano to support the unison lines in mm. 14-17 as well as those that contain three-part singing. The piano establishes a consistent undulating tempo in mm. 22-25, as if lulling someone to sleep. Be intentional with word/syllabic stress when singing through the quarter notes. Maintain a consistent tempo when singing the eighth notes in mm. 33-36. The chord progression helps establish the coolness of the mosses and ivies. Notice the melodic movement in mm. 37-38 reflecting the craggy ledge and hanging poppy followed by the unison sleep which ushers in the return of the original melody within the accompaniment. Linger with quiet, full and supported singing during the last three measures.
The text of Alfred, Lord Tennyson's There is Sweet Music Here is a wonderful example of word painting. Keep this in mind while learning to sing the music and try to capture the different scenes created through these famous words.The first two measures of accompaniment outline the opening chord in the voices. Crescendo to the word music every time it occurs. In mm. 7–10, the vocals cascade gently into a dissonance that develops into a full, rich sound. Allow the piano to support the unison lines in mm. 14–17 as well as those that contain three-part singing.The piano establishes a consistent undulating tempo in mm. 22–25, as if lulling someone to sleep. Be intentional with word/syllabic stress when singing through the quarter notes.Maintain a consistent tempo when singing the eighth notes in mm. 33–36. The chord progression helps establish the coolness of the mosses and ivies. Notice the melodic movement in mm. 37–38 reflecting the craggy ledge and hanging poppy followed by the unison sleep which ushers in the return of the original melody within the accompaniment.Linger with quiet, full and supported singing during the last three measures.

SKU: HL.1114957

ISBN 9781705179567. UPC: 196288105329. 6.75x10.5x0.036 inches.

Two classic “Winnie-the-Pooh” poems from the creative mind of A.A. Milne are humorously and sweetly set by Mark Burrows for 2-part voices. Many young people today may not be as familiar with these poems, so this creates a wonderful way to introduce them to your students and audience. A novel selection for any time of year.

SKU: HL.48189754

UPC: 888680990640. 9x12 inches.

“Known for her Operas and Vocal works, contemporary composer, Isabelle Aboulker has won numerous prizes for her compositions. Her collaboration with Opera libretto writer, Christian Eymery led to the exciting Sweet and Blue Beard for soloists, children's choir and Piano. Aboulker has done a significant amount of work with children and as a result, she has specially composed pieces to which they can relate. This is true of Sweet and Blue Beard, which includes a children's choir. Made up of 14 movements, Sweet and Blue Beard is an Oratorio, depicting a fairytale-like story. As an exciting, alternative collection in the Vocal repertoire, Aboulker's Sweet and Blue Beard is an exquisite addition to any children's choir repertoire.&rdquo.