This rehearsal pack provides all of the material needed to help prepare the unison voices for a performance of Birdland, Bob Chilcott's engaging musical drama following the quest of Pip the Sparrow to be accepted into the Dawn Chorus. Along with a copy of the vocal score, the pack contains a photocopiable booklet containing the part for unison voices and lyric sheets for all of the movements in which the unison voices participate. In addition, you will find a unique access code for a companion website containing downloadable audio rehearsal tracks (performances) for the unison voices part, PowerPoint resources for teaching and rehearsing the unison voices, and PDFs of the unison voices part and lyric sheets for printing.

for SSAATTBB unaccompanied The Island Itself is a setting of the poem Homage to Omey by Irish poet, Joan McBreen. The imagery of the sea conveyed in the text is reflected through lilting, syncopated rhythms. The melody is supported by a bed of ostinati sung with vocables. The swelling dynamics and long, held notes create an immersive wash of sound.

This book contains 50 easy piano arrangements of popular praise and worship songs that are sung in churches everywhere. The arrangements, by leading Christian music arranger Carol Tornquist, sound great both as piano solos and for sing-alongs. Complete lyrics are included along with basic chord symbols. Titles: 10,000 Reasons * Amazing Grace (My Chains Are Gone) * Be the Centre * Beautiful One * Better Is One Day * Blessed Be Your Name * Blessings * Breathe * Come, Now Is the Time to Worship * Cry of My Heart * Draw Me Close * Everlasting God * Forever * Give Thanks * God of Wonders * Great Is the Lord * Hallelujah (Your Love Is Amazing) * He Knows My Name * The Heart of Worship * Here I Am to Worship * Holy, Holy, Holy * Holy Is the Lord * Hosanna (Praise Is Rising) * How Deep the Father's Love for Us * How Great Is Our God * I Could Sing of Your Love Forever * I Lift My Eyes Up (Psalm 121) * I Love You, Lord * In Christ Alone (My Hope Is Found) * In the Secret * Indescribable * Jesus Messiah * Lord I Lift Your Name on High * Lord Reign In Me * Majesty (Here I Am) * Mighty to Save * More Love, More Power * Open the Eyes of My Heart * Our God * Revelation Song * Shout to the Lord * Sing to the King * Take My Life (Holiness) * Untitled Hymn (Come to Jesus) * We Fall Down * The Wonderful Cross * You Are My All in All * You Are My King (Amazing Love) * Your Grace Is Enough * You're Worthy of My Praise.

for SABar and piano Show them you care ('cos it's Christmas) is a setting of an original text by Mark De-Lisser and Clare Dove in a pop ballad style. It conveys a heartfelt and powerful message that is perfect for Christmas concerts. The song includes solos from each vocal section and the voices are supported by a piano accompaniment enriched with extended and altered chords.

for solo organ In this organ voluntary, Skempton has crafted a wash of melting lines using his distinctive harmonic language. Affirmation expands from a singular note into undulating four- and five-part textures. This, combined with its molto largo tempo, instils a reflective mood.

for SSA and piano This uplifting work by American composer Reginal Wright sets a text by the nineteenth-century poet Arthur O'Shaughnessy. The powerful words are sung to a memorable melody embellished with syncopation and triplets. The voices are accompanied by rippling broken chords enriched with falling chromatic lines. A version for SATB and piano is also available.

for SATB and piano. An upbeat setting of words by Charles Bennett celebrating the arrival of spring, Opening features changing metres, a compelling verse-refrain structure, and catchy melodies. A darker middle section mirrors the text's reflection on winter's snow and silence, before the music opens out into a final, joyful statement of the verse and refrain as the first signs of spring appear.

for SATB unaccompanied The three movements of A Winter Breviary are entitled: 'We look for you', 'The year's midnight', and 'The unexpected early hour'. The movements are each based on an Indian classical Raag: Raag Hamsadhwani, Raag Malkauns, and Raag Ahir Bhairav, respectively. The texts, by poet Rebecca Gayle Howell, are linked to the Christian services of Evensong, Matins, and Lauds, and are eco-carols written from the perspective of a different point in time-evening, midnight, and daybreak-using nature to explore a different part of the Christmas story. The first two movements have a serene and pensive atmosphere that contrasts with the third movement, which uses an energetic compound time signature and bell-like melodic shapes.

for SATB and organ Simon Biazeck has artfully arranged Dyson's Evening Service in C minor for mixed voices, transposing the work up a tone to better suit the SATB vocal ranges. The arrangement is engaging and eminently singable, allowing this staple of the repertoire to reach new choirs and audiences.

SATB and piano, with optional bass and drum kit This dynamic collection presents four jazzy settings of favourite madrigals by Thomas Morley, John Bennet, and Orlando Gibbons. The first, 'Sing we and Chant it', is a relaxed jazz waltz with a compelling melody, and singers will especially revel in the rich harmonies of the expressive 'Weep, O mine eyes' setting that follows. 'Learned Poets' has a bossa nova feel with a strong rhythmic groove and characterful syncopations, and the urgent rolling tempo of movement four captures the text's calamity and titular call of 'Fire, fire!', also expressed by a walking bassline that continually drives towards the work's emphatic conclusion. The stylistic piano part may be played as written or serve as a guide, and a bass and drum kit part is available separately for trio accompaniment.

for SATB and piano This uplifting work by American composer Reginal Wright sets a text by the nineteenth-century poet Arthur O'Shaughnessy. The powerful words are sung to a memorable melody embellished with syncopation and triplets. The voices are accompanied by rippling broken chords enriched with falling chromatic lines.

Music has always been at the heart of American television. Amongst the many roles it plays in broadcasting, music entertains viewers with live and videotaped performances, evokes moods and identifies characters and settings, and sells products through commercial jingles. Most importantly, television music steers viewers through the continuous stream of daily programming.
Tuning In looks at and listens to the first fifty years of American narrative television music as a unique art form. Drawing on music in a wide variety of television genres - from westerns to science-fiction thrillers to police dramas to sitcoms and commercials - author Ron Rodman develops a new theory of television music to explain how it conveys meaning to American viewing audiences. Music in television, Rodman argues, finds its origins both in radio and in cinema, and is thus a unique multimedia form that demands its own methods of analysis. From The Dick van Dyke Show and I Love Lucy to Twin Peaks and The X-Files, Rodman's arguments are grounded in a fascinatingly historically wide-ranging and diverse selection of shows.
The book also crosses media genres, looking at how the Broadway stage and the Hollywood film musical have influenced television variety shows and situation comedies. Drawing on music analysis and narrative and semiotic theories, this stimulating book illustrates how music forms part of the code that makes television broadcasts culturally meaningful.

for SATB unaccompanied In Grown about by fragrant bushes, Skempton sets a poem by Robert Louis Stevenson using gentle, lilting melodies. The theme of loss is sensitively conveyed in a tonal language that is made more expressive through the use of chromaticism. The voices move homophonically throughout and changing time signatures aid the movement of the piece.

for SABar and piano Higgins' setting of this popular folk song is simple and wistful, particularly well-suited for children's and youth choirs. With delicate quaver flourishes, the piano accompaniment flows gently alongside the vocal lines, creating suspensions that reflect the mysterious demands of the narrator. Also available in a version for SSA and piano.

for SABar and piano Suitable for concert use, this simple, delightful setting of a Yeats poem embraces nature's beauty and the secret joy of solitude. Soaring melodies, rich harmonic language, and a piano part that is both driving and supportive create a piece that is evocative and poignant. Also available in versions for SSA and piano and TTB and piano.

for SABar unaccompanied The Parting Glass is a traditional Scottish song, often sung as a farewell at the end of a get-together. Sarah Quartel's arrangement features close harmonies, idiomatic Scotch snap rhythms, and effective interjectory moments in what is a largely homophonic setting. The arrangement was made for the composer's friend Matt Jones, who served with the Canadian Military in Afghanistan in 2010-2011; his deployment and eventual safe return inspired the setting of the piece. With its valedictory message, The Parting Glass would make a fitting end to a performance, perhaps as an encore item. Also available in versions for SATB and TTBB.

for CCBar and piano This is a beautiful reworking of a popular folk hymn. The parts are arranged sensitively for changing male voices and there are optional solos at the beginning and end. Crawford employs a powerful homophonic texture, as well as interweaving countermelodies that allow each section to take the lead.

for SATB and piano In A Song of Blue, Chilcott explores the power of music through the metaphor of nature. This piece opens with a simple ostinato in the piano accompaniment that is glittering, yet melancholic. The upper voices begin by singing in unison, reflecting the peace and stillness of the words, before expanding into larger, more complex textures and yearnful harmonies.

for SABar and piano A simple and beautiful setting describing the wonder of a world seen through the eyes of a deaf child. In the refrain, singers are encouraged to sign the words they are singing, resulting in profoundly moving but unsentimental music. Originally published in a version for upper voices.

for SATBB unaccompanied By The Way, I Love You is a fun a cappella number that sets words by Garth Bardsley in a big band style. Swing and rhythmic groove is vital to the performance, with the catchy melody held first by the sopranos before passing between the voices, always over a bed of lively scat singing. There is great interplay between the voice parts, with playful interjections from the accompanying voices as the melody part recounts everything that they love about the special person they are singing about.