Choral Monuments provides extensive material about eleven epoch-making choral masterworks that span the history of Western culture. Included are: Missa Pange lingua (Josquin Desprez); Missa Papae Marcelli (G. P. da Palestrina); B Minor Mass (J. S. Bach); Messiah (G. F. Handel); The Creation (Joseph Haydn); Symphony #9 (Ludwig van Beethoven); St. Paul (Felix Mendelssohn); Ein deutsches Requiem (Johannes Brahms); Messa da Requiem (Giuseppe Verdi); Mass (Igor Stravinsky); and War Requiem (Benjamin Britten). The works are presented in separate chapters, with each chapter divided into three basic sections-history, analysis, and performance practice. Discussions of history are focused on relevancies-the genesis of the designated work in reference to the composer's total choral output, the work's place within the musical environment and social climate of its time, and essential features of the work that make it noteworthy. In addition, the compositional history addresses three other factors: the work's public reception and critical response, both at the time of its composition and in ensuing years; the history of score publications, detailing the various differences between editions; and the texts of the composition. The material regarding textual treatment, which often includes the complete texts of the works being discussed, concentrates on primary concerns of the text's usage; also included in the discussion are noteworthy aspects of texts separate from the music as well as biographical details of librettists and poets, if appropriate. The analysis section of each chapter outlines and describes musical forms and other types of compositional organization, including parody technique, mirror structures, and motto repetitions, as well as salient compositional characteristics that directly relate and contribute to the work's artistic stature. Numerous charts and musical examples illustrate the discussions. The discussion of performance practices includes primary source quotations about a wide range of topics, from performing forces, tempo, and phrasing of each work to specific issues such as tactus, text underlay, musica ficta, metric accentuation, and ornamentation.

From Glee Club Smarties comes a lullaby, Music of My Dreams. With big notes and simple rhythms, this sheet music is arranged for beginning piano playing success Optimized for all devices, this Kindle edition includes engraved melody-oriented sheet music that will appeal to beginning piano players. MUSIC OF MY DREAMS Just past midnight, while I sleep A song drifts through my mind As the moonlight bathes the sea I hear a lullaby Such sweetly blending beauty Hear the angels sing And I woke softly, pausing then To hear the music of my dreams Gentle harps and whistling flutes Play on and on in my dreams While the night wind cools my room I search my memory And hear a phantom serenade Of haunting melody Just listen, join me as we Journey to the dawn And I woke softly, pausing then To hear the music of my dreams Gentle harps and whistling flutes Play on and on in my dreams I dream of sun-bright ocean skies And I hear mighty waves Whispering their evening song Proud music of the storm Music, the music of my dreams Only, I can hear it Calling me, guiding me home And I will always hear the song Play on and on in my dreams Play on and on in my dreams *Lyric sheet provided by the author/publisher and is used by permission. This Kindle Edition sheet music is optimized for all devices and reading apps with the ability to zoom for a closer look. Formats available include: printed sheet music, Kindle Edition Digital Sheet Music, MP3 Audio Download from the MP3 store and CD.

Johann Sebastian Bach's chorale settings have been vital to the teaching of music ever since they were composed. His four-voiced harmonisations represent a Baroque composer's approach to melodies that are often centuries older. As musical styles continued to evolve, each succeeding generation of teachers and students brought their own viewpoint to bear on this small corpus of music. Consequently, during the three centuries since their composition and a quarter of a millennium since their first publication, a range of contrasting ideas and approaches has tended to obscure the fundamental nature of these short yet complex musical works. This volume of Resources presents a comprehensive selection of individual phrases and whole chorales in Bach's harmonisations, together with some alternative settings for comparison. They have been sorted into five principal types and arranged in an increasing order of complexity. Every phrase has been meticulously checked for accuracy against its original version in the cantatas and Passions. This collection complements any course on chorale harmonisation - in particular, it provides authentic solutions to the exercises set in the accompanying Workbook.

Living the Life I Sing: Gospel Music from the Dorsey Era to the Millennium discusses the foundations of gospel music and how the form has developed across time to create a genre that reaches far beyond its geographical borders. In addition, it addresses the future of the genre and considers its place in the general music industry. Section One explores the development of Gospel music, including its transition from the secular path of the blues to a path of sacred spirituality. Section Two focuses on the rise and role of the Black church in spreading Gospel music. Topics include the development of a Gospel methodology, the resistance of the Black press to "swinging" spirituals, the promise of and challenges to contemporary Gospel , and the value of live recording. Living the Life I Sing compiles an outstanding selection of resources to chronicle Gospel music from its blues-based foundation to its role in the lives of a post-millennial generation. The book is well-suited to courses on African-American music, those on the music business, religious music, and African-American history. It can also be used in music workshops.

for SATB, piano, and optional saxophone, bass, and drum kit Ophelia, Caliban, and Miranda puts a jazzy twist on three Shakespearean characters. With newly written texts by Charles Bennett, each of the three movements focuses in on Ophelia from Hamlet and Caliban and Miranda from The Tempest. In the funky opener, 'River Bride', the upper voices take the part of Ophelia, while the tenors and basses play a lover figure. Caliban's song, 'Ariel taught me how to play', is a reflective ballad in which the slave tells Miranda, who has escaped his advances, about the spirit helper Ariel teaching him to play the saxophone. The final movement, 'All good things come to an end', is a sassy yet tender number, where Miranda bids farewell to her beloved husband Ferdinand, declaring: 'I've gone back to the island to remember who I am'. The saxophone, bass, piano, and drum kit parts may be played as written or serve as a guide.