The Time For Singing Has Come

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

Par WHITBOURN JAMES. This glorious collection of beautiful choral music by composer James Whitbourn includes fifteen short works drawn from his oeuvre from the first few years of the 21st century. Many of his greatest compositions are included in The Choral Collection, with many of the pieces working perfectly for seasonal performances, while also reflecting the many fruitful collaborations of Whitbourn's distinguished career. All works are arranged for SATB Choir. James Whitbourn has become renowned throughout the world for his acclaimed compositions and settings of numerous texts. He has been described as truly original and an innovator of contemporary British choral music, collaborating with people like Archbishop Desmond Tutu and the Choir of King's College, Cambridge. The former appears here, as A Prayer Of Desmond Tutu, a setting of one of the Archbishop's prayers. His arrangements and compositions for the King's College Choir have been universally critically acclaimed, with A Great And Mighty Wonder, Nunc Dimittis and Were You There? representing these hugely popular collaborations. Whitbourn has also had a very close relationship with the BBC since his beginnings as a composer, working with them on three pieces within The Choral Collection. Eternal Rest and Give Us The Wings Of Faith were both composed specifically for television broadcast, the former (in its orchestral form) was played for the funeral of the Queen Mother in 2002. His longest work, for which he is most famous, is a setting of text from'the Diary of Anne Frank'. There Is No Speech Or Language comes from this work, taking its text from other sources, but that still maintain the beauty and tragedy of the wider piece. The Choral Collection of fifteen compositions by James Whitbourn is full of beautiful, haunting, uplifting and inspiring melodies for SATB Choir and Organ Accompaniment from one of the most treasured British choral composers. The brilliant choice of texts throughout is matched only by the sheer compositional skill of Whitbourn in evoking the emotions of the words in the musical form. Also included are suggestions for seasonal song use, a list of recordings, and fascinating song notes written by Whitbourn himself. The joy of choral singing is nowhere more evident than in a work by James Whitbourn, and performances of any piece within this collection is sure to be remembered for a long time to come./ Recueil / Choeur Mixte (SATB) et Orgue

Ed Hughes' A Time For Singing for Clarinet Cello and Piano. Score and parts.'My sister the clarinettist Alison Hughes is a member of the Camilleri Trio who gave the first performance. The work was conceived in memory of our aunt Gillian Nicholls.The four movements are:1. Walk with rainstorm2. Song3. Scherzo4. Until the day breakIt is a kind of narrative - in one sense an imagined walk through a changing landscape. A very English one in other words one in which it rains! But sometimes lit up by sunshine.It remembers Gillie Nicholls who loved walking and loved life. She died from cancer in2010. I wanted to write a piece that would remember her and her wonderful enthusiasm and sense of humour as well as forming a more traditional lament. So there are elements of each in this piece.Gillie was also a profoundly spiritual person. When she and John Muddiman married in 2010 they asked me to write a short song for the wedding 'Rise Up My Love' using words from 'Song of Solomon'.The new work for the Camilleri Trio commissioned by Jennifer Hughes in memory of her sister Gillian Nicholls also refers in the main title and in the last movement title to lines from 'Song of Solomon':the time of the singing of birds is come - Song of Solomon 2:12Until the day break and the shadows flee away - Song of Solomon 2:17A Time for Singing was written for the Camilleri Trio - Alison Hughes (clarinet/bass clarinet) Anja Inge (cello) Joanne Camilleri (piano). It was first performed by them at Mansfield Chapel Mansfield College Oxford on 30 October 2011.' - Ed Hughes

This collection for progressing students includes art songs as well as arrangements of folksongs and spirituals. ART SONGS Anonymous: Pastime with good company · Campian: Jack and Joan · Dowland: Come again sweet love · Dowland: What if I never speed · Gibbons: The Silver Swan · Ireland: Spring Sorrow · Lawes: How happy art thou · Morley: It was a lover and his lass · Morley: Now is the month of Maying · Purcell: I attempt from love's sickness · Purcell: Nymphs and Shepherds · Quilter: Weep you no more · Vaughan Williams: The Call · Vaughan Williams: Bright is the ring of words · ARRANGEMENTS All Through the Night (arr. Nicholl) · The Gospel Train (Walters) · Greensleeves (arr.Stanley) · He's Got the Whole World in His Hands (arr. Boyd) · How Can I Keep from Singing (arr. Ruck) · I gave my love a cherry (arr. Dean) · Jacob's Ladder (arr. Walters) · My Lord What a Mornin' (arr. Burleigh) · Shenandoah (arr. Walters) · Sometimes I Feel Like a Motherless Child (arr. Walters) · This Little Light of Mine (arr. Ruck).

100 Hits In C-Dur is the second volume of the songbook for solo performers, featuring 100 timeless classics arranged for Piano, Vocal and Guitar.This songbook is comprised of 100 well-known pop tunes, old classics and timeless favourites to learn. All songs are arranged simply, in the key of C, with chords and full lyrics. Tunes like Rock Around The Clock, Itsy Bitsy Teenie Weenie, Rhinestone Cowboy and Que Sera are featured to get you singing and playing in no time at all. / Piano/Vocal/Guitare (PVG)

Zimbe! Come sing the songs of Africa! is the 40-minute choral fusion of African song and jazz for SATB chorus children’s choir and jazz quintet which established composer Alexander L’Estrange's name worldwide and spawned a hugely successful series of large-scale works for the same forces. The addition of the children’s choir provides an opportunity for adult or secondary school SATB choirs to team up with local primary school or youth choirs bringing communities together through singing something for which L'Estrange has long been a passionate advocate. The work opens and closes with anattention-grabbing Njooni Zimbe*! Nyimbo za Africa! imploring us to 'Come sing the Songs of Africa!'; by the time you've heard the vibrant sequence of twelve songs which includes playground wedding funeral drinking protest worship songs and lullabies you will want to do just that. Zimbe! is the ideal piece for choirs who have enjoyed performing L'Estrange's Songs of a Rainbow Nation works by Karl Jenkins or David Fanshawe's African Sanctus. (* 'Zimbe' is the anglicised version of the Swahili word 'Ziimbe')

An anthem written for the Sunday after Christmas with a message to carry the spirit of Christmastide throughout the year. Hope and joy are revealed in the birth of our Savior and this anthem calls the world to come and behold thatprecious miracle. A pleasant flowing melody leads the piece onward beckoning the listener to follow the warmth of a shining star to find true light. The writers have utilized the classic “In the Bleak Midwinter” andupdated it with a relevant new text which points the church toward the coming year and the spiritual journeys lying ahead. Once again Nancy Price and Don Besig provide the singing church with beautiful and useful material.“A Time for Hope A Time for Joy” is a sure statement of faith to treasure the feeling of Christmas all year long.

Teach yourself how to sing with these easy rock singing lessons for beginners. Progressive Beginner Rock Singing covers the important techniques required to learn to sing including how to match pitch andrhythms pre-hear notes copy melodies by ear and harmonize melodies. This book also covers the basics of reading and understanding music the blues scale time signatures and the language of rock.ProgressiveBeginner Rock Singing includes 85 singing exercises and popular easy vocal music for beginners in rock singer styles. In full colour throughout with photos diagrams and easy-to-read singing music forbeginners.This set comes with 1 CD containing Guitar audio demonstrating all examples. No prior knowledge of how to read music or singing is required to teach yourself to learn to sing using this book.Suitable forall ages and all types of vocal ranges including soprano mezzo soprano alto tenor baritone and bass.

Make the silence talk'La Muette knew how to make the silence talk like no one', writes Djavann in his book (La Muette, © Flammarion 2008). Those words deeply touched me for they express one of the most beautiful metaphors in music. Through the lines of discourse, beyond words, I was listening to the silence of 'La Muette'. A rare and intense listening which joins the same internal listening I use when I'm writing my score. I was listening to La Muette, I decided to write a new piece to make the silent voice of La Muette told by Chahdortt Djavann sound through music. Choosing the extracts The text put in music is composed of short extracts from Djavann's story. I focused on this woman's portrait, who conquers her freedom through silence in which she forms a strong love relationship with her niece Fatemeh on the one hand, and the Uncle on the other hand. 'She had made her silence become her art of living, her freedom' writes Djavann. The extremely dramatic tension, the flow of the singing in Persian language, and the oppression in relation to the Iranian context are trying to underline the independent beauty of that woman who resists and exists without a voice. Story A young 15 years old Iranian girl named Fatemeh is in jail. Waiting for her death sentence, she writes the story of her aunt on a small notebook, 'so that someone remembers La Muette and myself'. The young teenager was raised by her aunt who becomes mute because she decided to stop talking on a dark day of her own childhood when she was interrogated, never to tell THE truth. An aunt whose silence makes even more fascinating, haughty, with an insolent look, cigarette at her lips, bare-footed and without any scarf on her head. 'La Muette' had made her silence become her art of living, her freedom. Around her, women start to talk, even considering her mad, for only a mad person could act this way. Fatemeh loves her mute aunt unconditionally, that is how she wants to become a woman, by being like her, fascinated by her silence and her excesses. La Muette embodies a figure of Freedom and makes us remember that in some countries, the woman who won't be submissive risks capital punishment. She will be hung. Following this beautiful text by Chahdortt Djavann, 'La Muette', a powerful text, stiff, tensed, without any lyricism nor compromises, which takes place in Iran under the Mollahs' regime. Persian: Phonological material / Compositional material Djavann's story is written in French. I asked Baharé Khadjé-Nouri to translate the text into Persian, and worked with her on pronunciation, accentuation, metric and the structure of the language, and I thank her again for that. I spent a long time having some people reading me the text in Persian and through listening I immersed myself in that sound universe. From this linguistic material, the beginning of the piece starts with the constitution of a tank of sound objects which will constitute parts of the compositional material. To compose the phonological tank, I worked on writing the pronunciation that lies at the origin of every possible vocal composition, writing the tone as well as the 'percussive - resounding' aspects of phonemes, multiple uses of fricative consonants or sibilants. Finally I used the vocal treatment of the phoneme through modes of play in relation to sprechsang: sing -inspire, or -expire, -blow, -chanting, -whispering, -spitting, -speaking. But a purely phonetic analysis of the vocal structures composing the sung part would reduce the word to its mere phonetic entity. The phonological material then constituted a compositional material by giving to the sung word its semantic entity. Form of the piece To strip the drama off every narrative element, at least of the discursive and linear character of the story, I first re-organized parts of the text extracted from the whole book in an order fitting the form I wanted to give to the piece (except for the beginning and ending which are kept in their linear forms). I imagined Fatemeh in jail, whose memories bounced between the four walls of her cell: recurring musical material, re-injected in an obsessive way, disjointed and contrasted, continuously modified each time, bouncing from one sequence to the next in another state. The piece is divided into 5 sequences, between each of them is an instrumental interlude with a voice-off, the voice of the present in the cell that contrasts with the singing voice of the sequence, evocation of memories of La Muette (sequence 1: preamble, sequence 2: portrait of La Muette, sequence 3: La Muette and Fatemeh, sequence 4: La Muette and the Uncle, sequence 5: epilogue). Electroacoustic setupFor this piece, I wrote the electroacoustic parts myself at the same time I was writing the instrumental parts. The electroacoustic setup is here considered as a whole instrument, an instrument added to the 12 others electroacoustic instruments and to Donatienne's voice. The electroacoustic sounds are divided into three types: - Samples from the singer's voice and instruments of the TM+ ensemble transformed - The narrator's voice Baharé Khadjé-Nouri in Persian, original version or transformed - Extra-musical sounds As for the synchronization between the acoustic and the electroacoustic scores, we will use for the first time an innovative application developed by Frédéric Bevilacqua and Bruno Zamborlin, not to follow the moves as we did it in StreicherKreis (my string quartet created in November 2008), but to follow the voice and orchestra. Thus, we will be using an 'audio-following', which constituted a first. This setup of recognition and following will allow the synchronization between instrumental and electroacoustic scores in a musical and precise way. Concerning the interactivity between performers and device, it will all be in real-time. Characteristics of the musicians' sound will 'interpret' what comes out of the speakers. The musicians will define the settings of the sound transformations, in terms of space, transposition, tone or length. This new piece expresses a message through the choice of subject that goes beyond strictly music. For me, it is important that both the composer and writer can invest their work into problematics which they're confronted to because they are immediate witnesses. / Soprano Et Percussions

Quick Start Lessons for the Elementary Class-It's music time! No problem! Bring the joy of music to your classroom with this one-of-a-kind resource created for music teachers in training beginning music teachers elementary classroom teachers and even band choir ororchestra directors who are teaching general music for the first time! Teach the basics with quick-start sequential lessons designed for younger elementary age groups. Pick and choose what works best for your needs with openingactivities music FUNdamentals music reading singing games listening lessons and assessment activities. This all-in-one resource comes with an Enhanced CD of the highest quality recordings 2 orchestral masterworks and PDFs ofsongsheets piano accompaniments instrument parts listening maps and activities for printing and projection options. Time's a-wastin'! Let's get started! Available: Teacher Book/Enhanced CD. Suggested for grades K-3.

This giant book features over 100 of America's favorite folk songs expertly arranged for the Appalachian dulcimer. Children's songs work songs old Anglo-American ballads songs of strife and freedom love songs and much muchmore are all gathered here in arrangements suitable for the beginning and intermediate player. The songs come from all over old books and sheet music transcriptions from field recordings but mostly from the singing ofcountless folks in kitchens and festival hallways street corners and concert stages. Songs include Poor Wayfaring Stranger Tenting Tonight Don't Let Your Deal Go Down Oh Death CarelessLove and many many more. Tunings used include D-A-D and D-A-A as well as C-G-C and C-G-G and several modal tunings. All are playable on any three or four-stringed dulcimer. Some use a 6 1/2 fret. Includes information onreading music and TAB notes on transposing and a useful index of songs by tuning. In standard notation and TAB with guitar chords.

A Fun Easy Approach to Beginning Guitar for Kids. Every kid wants to play guitar and this innovative new instructional method lets them do just that! It's designed for use in the general music classroom and is developmentally structured to get all beginning guitar students playing and singing from the very first lesson no matter what their level of experience. Whether you have a small group or a classroom full of students the Book/CD pak and the video will help you the music teacher provide a quality musical experience even if you are a beginner yourself! It's easy to use and before you know it you'll be helping even young children to play well and build general musicskills one success at a time! For ages 5-10.