SKU: HL.48009870
UPC: 073999191394. 9.25x12.25x0.074 inches.
Contents: Winter * The Bare Tree * Spring Storm * Memory of April * Love Song * This is Just to Say * Perfection * The Wildflower * My Days are Burning (The Counter) * A Flowing River * Approach of Winter * Conquest (begun) * The Marriage of Souls * Conquest (concluded).
SKU: GI.G-CD-836
UPC: 785147083627.
The first track on this recording says it all: ¡Increible Abundancia! Incredible Abundance! (This piece also served as the theme song of the 2010 Los Angeles Religious Education Congress!) Sit back for—or get up and dance to—the richness of the one-of-a-kind sound of Donna Peña. Bilingual tracks are sprinkled among these 16 classics—from the evergreen I Say Yes, Lord / Digo SÃ, Señor to the lovely duet In Your Meadow, Luz Brillante. Songs of joy, songs of poignancy, songs of love, songs of justice—they are all here! How can we not but say YES to the best of Donna Peña? You will be glad you did!
SKU: HL.275243
UPC: 888680743581. 5.0x5.0x0.15 inches.
Justin Timberlake and Chris Stapleton join forces to create this powerful pop ballad. With choral harmonies and vocal parts throughout this is made for choral performance. This arrangement captures the strength and intensity of the original and takes it to new heights.
SKU: HL.266475
UPC: 888680733049. 6.75x10.5x0.039 inches.
This classic swing tune was arranged for the Michigan All-State Vocal Jazz Ensemble. Beginning with the rubato intro just right for a soloist to stylize in their own way, it launches into a sweet swinging ensemble arrangement that is hip and contemporary and just right for an advanced vocal jazz choir.
SKU: HL.266476
UPC: 888680733056. 5.0x5.0x0.148 inches.
SKU: HL.282480
ISBN 9781540034373. UPC: 888680789244. 9.0x12.0x0.868 inches.
Over 80 songs from the decade of excess where Generation X came of age. This collection features arrangements for easy piano with lyrics. Songs include: Another Brick in the Wall * Billie Jean * Caribbean Queen (No More Love on the Run) * Chariots of Fire * Don't Stop Believin' * Endless Love * Eye of the Tiger * Flashdance...What a Feeling * Girls Just Want to Have Fun * How Will I Know * I Love Rock 'N Roll * Jump * Karma Chameleon * Let's Hear It for the Boy * Like a Virgin * Missing You * Nothing's Gonna Stop Us Now * One More Night * Pour Some Sugar on Me * Right Here Waiting * Sweet Child O' Mine * Sweet Dreams (Are Made of This) * Take on Me * Time After Time * Up Where We Belong * What's Love Got to Do with It * When Doves Cry * With or Without You * and more.
SKU: HL.284127
ISBN 9781540036483. UPC: 888680825881. 9.0x12.0x0.566 inches.
Now in a 3rd edition, this romantic collection features 63 songs arranged in our patented E-Z Play(r) Today notation. Songs include: And I Love Her * Because You Loved Me * Can't Help Falling in Love * Endless Love * The First Time Ever I Saw Your Face * How Deep Is Your Love * I Will Always Love You * I'm Yours * Just the Way You Are * Longer * Love Story * My Heart Will Go on (Love Theme from 'Titanic') * The Power of Love * The Rose * A Thousand Years * Unchained Melody * When I Fall in Love * You Are So Beautiful * and more.
About Hal Leonard E-Z Play Today
For organs, pianos, and electronic keyboards. E-Z Play Today is the shortest distance between beginning music and playing fun. Now there are more than 300 reasons why you should play E-Z Play Today. * World's largest series of music folios * Full-size books - large 9 x 12 format features easy-to-read, easy-to-play music * Accurate arrangements... simple enough for the beginner, but accurate chords and melody lines are maintained * Eye-catching, full-color covers * Lyrics... most arrangements include words and music * Most up-to-date registrations - books in the series contain a general registration guide, as well as individual song rhythm suggestions * Guitar Chord Chart - all songs in the series can also be played on guitar.
SKU: HL.263232
ISBN 9781540021038. UPC: 888680729318. 9.0x12.0x0.586 inches.
Romance, heartbreak, optimism, melancholy, or just a lovely autumn day - it's all been captured by American songwriters. A generation of the country's finest songwriters captured universal feelings and experiences in such an infectious combination of words and music that their songs still inspire today. This collection features 100 classics by treasured composers arranged for ukulele: All the Things You Are (Jerome Kern) * Blue Skies (Irving Berlin) * Come Fly with Me (Sammy Cahn) * Georgia on My Mind (Hoagy Carmichael) * Mood Indigo (Duke Ellington) * On the Street Where You Live (Lerner & Loewe) * People Will Say We're in Love (Rodgers & Hammerstein) * Somebody Loves Me (George Gershwin) * You'd Be So Nice to Come Home To (Cole Porter) * and more.
SKU: SU.90900230
Text: William Carlos Williams.
SATB a cappella (12-24 voices) Duration: 12' Poems by William Carlos Williams Movements: 1. The News from Poems; 2. The Red Wheelbarrow; 3. The Loving Dexterity; 4. Defiance to Cupid; 5. This is Just to Say; 6. Epilogue Composed: 2006 Published by: Notevole Music Publishing Perusal copies are available by contacting [email protected] (include the organization name with your request).
SKU: HL.1438561
ISBN 9798350123715. UPC: 196288204916.
The '80s brought on an electrifying surge of musical innovation, marked by the rise of genres such as synth-pop, hair metal, and the early beginnings of hip-hop. This dynamic period was distinguished by the revolutionary influence of MTV, which changed the way we consume music and turned musicians in visual legends. The decade's spirited vibe made a lasting impact on the music scene, etching its presence into the cultural fabric forever. Grab your hairspray and teasing comb and jump into this new Super Easy songbook, featuring 46 simple arrangements of the decade's best to start playing your favorite songs in no time! Each song is arranged with simple right-hand melody, letter names inside each note, basic left-hand chord diagrams, and no page turns. Songs include: Africa ⢠All Outof Love ⢠Beat It ⢠Danger Zone ⢠Don't Dream It's Over ⢠Ebony and Ivory ⢠Everybody Wants to Rule the World ⢠Flashdance... What a Feeling ⢠Footloose ⢠Girls Just Want to Have Fun ⢠Higher Love ⢠Hurts so Good ⢠Into the Air Tonight ⢠Jump ⢠Owner of a Lonely Heart ⢠Running Up That Hill ⢠Sweet Dreams (Are Made of This) ⢠Total Eclipse of the Heart ⢠You're the Inspiration ⢠and more!
SKU: HL.49041963
ISBN 9783795751074. German.
Diese Schule richtet sich an Schuler und Lehrer, die eine aktuelle Rock- und Pop-Gitarrenschule im Anfangerbereich suchen. Der Autor hat eine Schule entwickelt, die nicht nur mit einer E-Gitarre, sondern ebenso mit einer Konzert- oder Westerngitarre spielbar ist. Jedem Band liegt eine CD bei, die neben E-Gitarren auch mit Konzert- und Westerngitarren eingespielt worden ist. Die CD ist fur die Schuler besonders interessant, weil sie die Lieder, Notenwerte, Rhythmen etc. auch zu Hause anhoren konnen - und dadurch den Spielstoff besser nachvollziehen. Die Titel sind vor allem zu Beginn sehr langsam, um dem Spieler ein Mitspielen zur CD zu gewahrleisten. Die nachfolgenden Lieder steigern sich im Tempo allmahlich. Die Rock & Pop Gitarrenschule lehnt sich im methodischen Aufbau an bewahrte klassische Schulen an. Die Schuler lernen in diesem Band verschiedene Rock- und Popstile und Spieltechniken kennen anhand von Songs wie: El Condor Pasa, Sailing, Lady In Black, I Just Called To Say I Love You, Freiheit.
SKU: PR.114422520
ISBN 9781491134788. UPC: 680160683833.
After decades as a renowned oboe virtuoso, Katherine Needleman was improvising at the piano during the quarantine summer of 2020 when her ideas congealed in a powerful way. Within a week she completed a 16-minute oboe sonata inspired by the world’s overlapping crises. This riveting three-movement sonata bears the title qua resurget ex favilla, drawn from the Dies Irae text referring to rising back from ashes. Needleman won the International Double Reed Society’s Inaugural Commissioning Competition by entering her own recording of this work, performing as both oboist and pianist from her living room. As a result, IDRS commissioned her to compose a new work for English horn and piano which was premiered at their 2021 Virtual Symposium and programmed for the live 2022 convention.I’m not exactly sure how, in a life consumed by music, I never put anything on paper between the time I stopped at age 10 and the age of 42. I mean, I have some ideas why, but that could easily dissolve into a feminist manifesto or a condemnation of my musical education and the overwhelming culture of American oboe playing, the vehicle through which I’ve made a living my entire adult life. Rather than go there, I will just say this is the first piece I put on paper in my adult life.Six months into COVID-19 lockdown in the US, the world was feeling pretty weird. I had familiarized myself with the music notation program, Sibelius, for recent arranging projects. I had written some mockeries of A.M.R. Barret oboe etudes in response to an assignment I was given (and did appropriately first). When I descended into a dark chorale in the middle of the fourth mockery, I realized I needed a new vehicle. I wrote a short, ridiculous piece for my husband’s birthday, and then, the next night, when improvising at the piano, like I’ve done since I was seven years old, this piece came to me. However, this time, I sketched it out into Sibelius. Over the course of the next week, I found notating and picking permanent, official notes to enter into the computer challenging. But it was all done on paper in seven days, and I took another few for dynamics and articulations thinking they might be useful for someone else, if I would ever be lucky enough for someone else to play it.I don’t have much to say about the music of qua resurget ex favilla itself. It’s a personal statement couched in the feelings of that time. The US presidential election was looming large and ugly in my mind, well, that and the end of life as we knew it, but I also had some bizarre feeling that everything would be okay.
SKU: BR.EB-9387
ISBN 9790004188576. 0 x 0 inches.
Commissioned by the Kolner Philharmonie (KolnMusik) for the non bthvn projekt 2020 and the Cite de la musique / Philharmonie de Paris Dedicated to Arditti Quartet Each movement of this quartet explores a single state, its lights and its shadows. Each movement, you could say, is a moment . And these moments could last for more or less time without compromising their essential nature. The processes could be extended or compressed, repeated or reversed, but the core ideas - if they are ideas, but maybe they are simply experiences? - are what they are. Despite this, the precise sequence of movements matters a great deal. Heard together they do articulate some kind of linear narrative, maybe even a metaphorical journey (albeit a circular one where the arrival might, who knows, prove to be a new departure). One situation gives way to another and instrumental relationships within the quartet vary, but ultimately the imaginative impulse behind the piece preferences states of unity. Whether or not this unity is expressed texturally - sometimes literal unisons pervade, but not always - there is generally a sense that even seemingly diverse aspects relate to a fundamental condition of concord: a conscious limitation in the pitch structure to spectral emanations of the root notes E-flat and C. At the opening this is unambiguously audible in the perpetual alternation of these two notes in the low cello register. Later the two spectra are woven into a micro-tonal 'double-spectral-mode' (derived from the first 24 partials of the C and E-flat fundamentals), which defines the subtle melodic inflection of the second movement, and the never-quite-chromatic ascending scales of the third. For now this feels like a rich source of melodic possibility, so far only just glimpsed... And why the insistence on E-flat? Probably by way of historical anecdote. Apparently Karl Holz (a member of the Schuppanzigh Quartet) said to Beethoven: We performed your Quartet in E-flat Op. 127 in his [Weber's] honour; he found the Adagio too long; but I told him: Beethoven also has a longer feeling and a longer imagination than anyone standing or not standing today. - Since then, even Linke (another member of the quartet) can no longer stand him: we cannot forgive him for this. Listening again to Op. 127, in light of these comments, I was struck by the opening moment: the unfolding of an E-flat 7th chord over the course of a few bars. Every time I hear it I find myself wishing that Beethoven would have lingered longer there, without resolution or progression, just enjoying that sonority. And maybe - why not? - tune the 7th naturally. And what would it be to stretch that moment into an entire piece? What would Weber think of that?! In the end I was not so extreme in my self-limitation, and other concerns took over, but it was from these thoughts that the composition process began... Lastly, about the title: it comes from a book called 'The Clock of the Long Now' by Stewart Brand, published at the turn of the millennium. It's about the creation of a thousand-year clock to embody the aspiration to thinking in terms of longer time-spans than are presently habitual. If the music of Beethoven embodied a 'longer' feeling and imagination than some of his contemporaries were able to appreciate, what is our relation to time now? Longer or shorter? Maybe it depends who you ask... It's probably more extreme in both directions: attention spans might be diminishing in the digital world, but conversely there is an awareness of distant pasts and potential futures which would have been inconceivable at the time of Beethoven. In any case, the interesting thing is to ponder how societal conditions, assumptions and expectations might - whether consciously or unconsciously - influence the time of art, for listeners and creators alike. And what if time is running out? (Christian Mason)World premiere: Paris, Cite de la musique, January 14, 2020.
