The Fox (What Does the Fox Say?)

A delightful Christmas cantata for children’s voices (and ensemble/electronic backing tracks) with or without narrator: reggae jazz rock ballad and pop numbers to witty text by Richard and Thomas Allain. Caesar has called a census in the Holy Land. So everyone is crowding back into Bethlehem a town where they read Shalom! Magazine where suddenly there are donkey traffic gridlocks and hotels where you can't get a room for love or shekels. Tom works doing odd jobs at the Fun Big Inn which isn't much fun at all. This busy night he decides to leave the landlord in the lurch and head for the bright lights of Jerusalem. But he doesn't get far running first into reggae singing shepherds and then three groovy wise dudes following a star. Tom can hardly ignore the remarkable things they have to tell him. So what does he do next? What would any of us do? Richard and Thomas Allain retell the story of the Nativity in a new and individual way with immediacy and wit in a string of unforgettable tuneful songs and sharply clever words in an idiom accessible to everyone. Manger Tom can be performed with unison voices someone to narrate highly effective with just Piano or Keyboard accompaniment. But there are parts available too for instruments you might want to add. Included with the score of Manger Tom is a CD which comprises of a full performance of the musical numbers by professional singers and players as well as just the accompaniments for everyone to sing along to if they prefer. Additionally lyric sheets and a script are available as free downloads - visit www.hybridpublications.com to access the bonus material. Lyric sheets enable easy rehearsals and the script allows Manger Tom to be performed as a full nativity play. Review from Andrew Stewart of Classroom Music says: 'Manger Tom manages to squeeze within the space of eight numbers everything from big-band and rock numbers to reggae and in ‘Star of the

Piano Sonata C major K. 309 (284b) Editor: Ernst Herttrich Fingering: Hans-Martin Theopold I wish to do it to reflect the character of Mad:selle Rose, Mozart replied when asked how he intended to set out the Andante of his Sonata in C major. In autumn 1777 he had got to know Rosina Cannabich in Mannheim and during her lessons immediately introduced her to the Sonata K. 309 that he had composed for her. Indeed, in December 1777 according to her teacher she was already able to perform it excellently. So that a great many other pupils might follow in her footsteps, we are now publishing this small gem that shows Mozart‘s great skill in composing for the piano as a single edition with a new preface by the editor; it was previously only available in the complete volumes (HN 1 and 3). FIRST MOVEMENT The first movement of the C major Sonata K 309 is a model teaching sonata form structure. With sonata forms, as with Bach fugues, no formal dogmas underlie the process of composition, but each sonata varies anew a basic principle. For Mozart, this entailed strict adherence to certain fundamental patterns without his creative freedom. In his sonata movements in major keys, for example he favoured a distinct second subject in the dominant as most contemporary composers did. Haydn, on the other hand, reveled in experiment at this point. A brief analysis may help to demonstrate Mozart's standard sonata allegro form and the first movement of it is an ideal example for such an investigation. The first subject is a distinctive, marcato opening followed by a five-bar response. The falling fourth and rising sixth of the opening is one of Mozart's favourite motifs, his common melodic device. He often uses it in the minor as well as the major, and many of his themes start with this motif (e.g. the second movement of the A major Sonata K 331, the Adagio in B minor K 540, and subjects in the Symphonies K 114, 124, 319/II and 551/II). The seven measures of the main theme are repeated, slightly varied. Measures 15 to 21 conclude the first subject group with an answering phrase (3+3 bars). The transition consists of new material and then, in measure 35 (after two measures of preparation comes a second cantabile theme, in the dominant (G major) comprising 2x4 bars, which is also repeated and proceeds to a spirited closing theme (concluding group) using passage-work (m. 43) and incorporating a delightful diminuation of measures 35 36 in measure 45. The exposition ends with a codetta of five bars. The development presents the opening motif first in g minor, and then the various ideas of the first subject are worked out. With this procedure Mozart is keeping much more closely to textbook principles than he usually does. Two further statements of the opening motif lead back to the recapitulation in measure 94. The second subject, now in the tonic, has surprisingly changed place with its accompaniment. The opening is recalled again in an effectively assertive coda. SECOND MOVEMENT The second movement of this sonata is an introspective Andante un poco adagio. In a letter Mozart stated his desire to make this Andante match the character of the young pianist Rosa Cannabich for whom he wrote it: ...she is a sweet, pretty girl, just like the andante. For her age she is sensible and level-headed; she is serious, and doesn't talk too much, though what she says is pleasing and sympathetic. THIRD MOVEMENT An elegant and smoothly flowing Rondo of unusually large proportions concludes this Sonata. Paul and Eva Badura-Skoda

Six of the best songs from Amy Winehouse arranged for Piano Voice and Guitar. Six of the Best simply does what it says - 6 of the best hits from leading artists available in a competitively priced format. Amy Winehouse is the first British singer to win five Grammys including three of the 'Big Four': Best New Artist Record of the Year and Song of the Year. In 2007 she won a BRIT Award for Best British Female Artist; she had also been nominated for Best BritishAlbum. She has won the Ivor Novello Award three times one in 2004 for Best Contemporary Song for Stronger Than Me one in 2007 for Best Contemporary Song for Rehab and one in 2008 for BestSongMusically and Lyrically for Love Is a Losing Game among other prestigious distinctions.

For Banjo Mandolin Fiddle and Guitar. Taught by Murphy Henry with Red Henry. For many people learning to hear chord changes is one of the hardest parts of learning to play bluegrass. No matter what instrument you are tryingto play. And even if you hear when a chord changes what chord does it change to? And how do you know? This brand-new DVD will help you learn to hear those chord changes. Even if you?ve never heard a chord change before in yourlife.Murphy begins with simple well-known two-chord songs (like Skip to My Lou) and walks you through the process step-by-step. First she sings each song while playing the Guitar. Then going through the song slowly shedemonstrates what the song would sound like if you didn?t change the chord. So you can hear that it sounds ?wrong.? When she moves to the ?right? chord (not a hard choice when you?ve only got two chords) you immediately hear thatthe song sounds ?right.? And that she says is the process: ?If it sounds wrong it is wrong?. She then demonstrates each song with Banjo Mandolin and Fiddle. She does simple strums on Banjo and Mandolin and ?chop?chords on the Fiddle. (Which she shows you.) Red Henry Murphy?s husband helps out on Guitar and Mandolin. Eventually she moves to three-chord songs using the C chord. And later she introduces the A chord and the F chord. Shepoints out that each of these chords has a distinctive sound and she tries to help you hear that.

Scribe's libretto to Verdi's 'A Masked Ball' concerns the real-life assassination of King Gustave III of Sweden at a masked ball in 1792 but adds a love story to what was probably a political murder. The King Ricardo is in love with Amelia wife of his friend Renato. Renato warns the King to beware a plot to kill him. The King visits Ulrica the mystic and she says he will die by the next friendly hand he shakes. While he is there Amelia (in disguise) also visits Ulrica to ask for a magic herb to rid her of her illicit love for Ricardo. She leaves to see it pursued by the King but as he leaves Renato enters and the two shake hands. At the gallows Ricardo and Ameliaspeak of their love but are found by Renato who thinks he has been betrayed. He prepares to kill Amelia but relents and turns on the King joining the conspirators and being chosen to commit the murder. The ball begins Amelia urges the King (who meanwhile has resolved to give her up) to leave but he refuses and is stabbed. Too late does Renato realise the innocence of the lovers and he is overcome by remorse.This is the Schirmer edition of the Vocal Score with an English version by Peter Paul Fuchs.

Par MIRANDA LIN-MANUEL. It was really fun to make an arrangement on these three great melodies from Encanto! Here, the band will be able to work with latin rhythms, syncopation (which doesn't rush) and with possible solo elements on the melody. Use your imagination and feel free to re-arrange to let your musicians shine. (Example: bar 27 and onwards can be performed as a duet) All three songs can be played separately. They have different degrees of difficulty and if the band lack the ability to perform the last melody, you can easily stop before that. 1. 'We don't talk about Bruno' (1-55) benefits greatly from having a Guiro saying 'go-ap tsh tsh'. This piece can be stopped by playing to the end of bar 54. If you want to play this piece only, you can easily extend it, by repeating from 27, perhaps with other soloists? 2. 'Surface Pressure' (55-116) If the cowbell-part is not played, percussionists have to play these two weak beats in 56. The groove for drum set is also very important from 68. Also, that you get a proper swing feeling on 84- 98 and that the drummer in 99 really goes back to even eighths. If you want to extend this piece, you may repeat from 84. If you want to end after this song, you can insert a ritardando 2 bars before 116 and preferably add a quarter note high G, then a quarter rest, and then a darker G. Another possibility is to repeat from 84 and then stop at the first note in 100. 3. 'The Family Madrigal' can of course also be played alone. This is truly a song that gets people clapping! I have chosen to make the opening rhythm a little easier by adding an eighth note to the one (120) If the ensemble has a very good understanding of rhythm, it can be skipped, but then the only tone in the phrase that is on the pulse beats will be the quarter note in the second measure. You can start the piece straight on bar 120 without the drum intro. If you want to extend this piece, you can repeat 152 – 199. (Or you can go all the way back to 136) If you do so, you can perhaps skip the first house at the end, if the audience is not standing on the chairs dancing Have fun performing this arrangement! The Movie Encanto is a 2021 American computer-animated musical fantasy comedy film produced by Walt Disney Animation Studios. It follows a multigenerational Colombian family, the Madrigals, led by a matriarch (Botero) whose children and grandchildren—except for Mirabel Madrigal (Beatriz)—receive magical gifts from a miracle that helps them serve the people in their rural community called the Encanto. When Mirabel learns that the family is losing their magic, she sets out to find out what is happening, and save her family and their magical house. Encanto premiered at the El Capitan Theatre in Los Angeles on November 3, 2021 The film received critical acclaim for its characterization, music, animation, voice acting, emotional depth, and cultural fidelity; reviews named magic realism and transgenerational trauma as the film's core concepts. Publications have described Encanto as a cultural phenomenon. The film was nominated for three awards at the 94th Academy Awards, winning Best Animated Feature, and received numerous other accolades. The film's soundtrack also became a success, reaching number one on the US Billboard 200 and UK Compilation Albums charts; 'We Don't Talk About Bruno' and 'Surface Pressure' were its two most successful songs, with the former topping both the US Billboard Hot 100 and UK Singles Chart for multiple weeks. Bjørn Morten Kjærnes / Date parution : 2023-07-31/ Répertoire / Ensemble Flexible à 7 Parties

The second volume of a thousand and one all-time hit songs ranging from essential standards to the latest pop hits - a must for all singers and musicians. / Chant Et Guitare