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 Ian Crawford breathes new life into this traditional American tune by employing a bluegrass-inspired style, jaunty syncopations, and an upbeat tempo. The light but supportive piano accompaniment uses punchy clustered chords, and the melody is shared between the voice parts. This flexible arrangement is accommodating and idiomatically written for changing male voices.

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 SABar and piano This sensitive, authentic arrangement of a well-known Yiddish folksong introduces singers to the harmonic characteristics of Yiddish music. Clapping and body percussion is employed to great effect, and a pronunciation guide and English translation are included, along with a brief contextual note.

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 SABar and organ or piano With words by the composer, this warm, expressive anthem calls to Christ, the light of the world, to bring justice, hope, and joy to our lives. The simple, memorable melody is supported by a gently flowing organ part, with straightforward but effective harmonies from Altos and Baritones in verse two. Offprinted from The Oxford Book of Easy Flexible Anthems.

for SSAATTBB and oboe John Rutter creates a peaceful and contemplative atmosphere in this new arrangement of the traditional German carol, Es ist ein' Ros' entsprungen. The piece opens with a lyrical melody from the solo oboe, over a wash of gentle, hummed vocal harmonies. Rutter continues the carol by underpinning the vocal melodies with 'ah's and hummed parts, and keeping the dynamics soft, to retain its tranquility.

for SABar and piano This is a vibrant setting of a poem by George Parsons Lathrop that describes how music underpins all earthly life. An active piano part provides an energetic undercurrent to compelling vocal lines, with the voices beginning in unison before opening out into two and then three parts. Music of Life is the perfect selection for choirs looking to celebrate the life-affirming power of music. Also available in a version for SSA and piano.

for SATB (with divisions) and two soloists unaccompanied In this beautiful setting, Latvian composer Laura Jekabsone presents a modern, popular take on the familiar carol text by Henry John Gauntlett. The piece is led by two soloists (one upper voice, one lower voice), who the choir underpin with a rich harmonic cushion of a cappella-style scats. The melodies are instantly memorable, and the choir's move from an accompanying role to presenting the final chorus gives a powerful lift and emphatic conclusion to this effective Christmas work.

for SATB unaccompanied Setting original words by the artist Marc Bratcher, this tender and evocative carol for unaccompanied SATB choir is suitable for performance at Christmas or Epiphany. The work opens with a gently flowing soprano solo, displaying Rutter's characteristic gift for melody, before the thematic material is developed by the full choir, with some divisi.

Put together for the first time in one book, the artist approved Radiohead: The Acoustic Guitar Songbook contains over 20 of the greatest guitar songs from Radiohead. Spanning their entire career to date, each song is transcribed for acoustic guitar in standard notation and tab, with melody line and chord boxes.

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.

for SSA and piano The time draws near is instantly recognisable as Chilcott. The text, by Alfred, Lord Tennyson, describes the feeling of anticipation before the birth of Christ. Chilcott has set these words using a pure and effective melody in the verses, complimented by jubilant refrains of 'Gloria in excelsis Deo'.

for SATB and piano On this Silent Night perfectly conveys the magic and excitement of winter, conjuring images of warmth by the fireside while the weather outside closes in and giving a subtle nod to Franz Gruber's Silent night. The vivid imagery of the secular text is enhanced through gleaming harmonies and glittering quaver movement in the piano accompaniment. Hemiolas give the piece a dance-like quality, while a contrasting middle section uses darker sonorities and textures to reflect the storm outside.

for SATB (with divisions) unaccompanied Characteristically sung on Christmas Day, this Catholic chant depicts mystery and wonder at the birth of Jesus, as witnessed by the animals. The second half of the text relates to words spoken by Elizabeth, welcoming Mary into her home. In McDowall's setting, deep, sonorous chords open and close the piece, which has a sustained tempo that gives space for the melismatic vocal lines and rich harmonies to take full effect. O magnum mysterium is the first of McDowall's set of three 'O' text settings conceived as Trinity Triptych.

for SSATB unaccompanied The O nata lux text is taken from a 10th-century anonymous hymn that uses the concept of light to symbolise hope, a particularly pertinent theme for Advent. Throughout this setting the sopranos intertwine their high, melodic lines above interjections from the lower voices, creating an atmosphere of ethereal luminosity. O nata lux is the second of McDowall's set of three 'O' text settings conceived as Trinity Triptych.

for SATB and organ Light Triumphant Breaks combines the text of the Sarum introit from the second Sunday of Advent and a translated anonymous Greek text using dancing dotted rhythms and intricate articulation. A free use of metre and contrapuntal movement make this a lively and jubilant piece that would be enjoyed by church and cathedral choirs alike.

In the late 1920s, Dmitry Shostakovich emerged as one of the first Soviet film composers. With his first score for the silent film the New Babylon (1929) and the many sound scores that followed, he was positioned to observe and participate in the changing politics of the film industry and negotiate the role of the film composer. In The Early Film Music of Dmitry Shostakovich, Joan Titus examines the scores of six of Shostakovich's films, from 1928 through 1936. Instead of investigating Shostakovich as a composer, a rebel, a communist, or a dissident, as innumerable studies do, Titus approaches him as a concept in itself-as an idea-and asks why and how listeners understand him as they do. Through Shostakovich's scores, Titus engages with the construct of Soviet intelligibility, the filmmaking and scoring processes, and the cultural politics of scoring Soviet film music, asking why and how listeners understand the composer the way they do. The discussions of the scores are enriched by the composer's own writing on film music, along with archival materials and recently discovered musical manuscripts that illuminate the collaborative processes of the film teams, studios, and composer. The Early Film Music of Dmitry Shostakovich commingles film studies, musicology, and Russian studies with original scholarship, and is sure to be of interest to a wide audience including musicologists, film scholars, historians of Russia and the Soviet Union, and Slavicists.

With the Harry Potter film series now complete, Alfred Music Publishing and Warner Bros. Entertainment are proud to present musical selections from the eight epic films together in one piano sheet music collectible volume. For the first time ever, 36 sheet music selections by John Williams, Patrick Doyle, Nicholas Hooper, and Alexandre Desplat are collected along with eight pages of color stills from The Sorcerer's Stone to The Deathly Hallows, Part 2. By popular request, "Leaving Hogwarts" from The Sorcerer's Stone appears in print in this collection for the first time. It's a perfect gift for intermediate to advanced pianists of all ages who love the music of Harry Potter. Titles: * Diagon Alley * Family Portrait * Harry's Wondrous World * Hedwig's Theme * Leaving Hogwarts * Nimbus 2000 * Voldemort * The Chamber of Secrets * Fawkes the Phoenix * Buckbeak's Flight * Double Trouble * Hagrid the Professor * Harry in Winter * Hogwarts March * Potter Waltz * This Is the Night * Dumbledore's Army * Fireworks * Loved Ones and Leaving * Professor Umbridge * Dumbledore's Farewell * Harry and Hermione * In Noctem * When Ginny Kissed Harry * Farewell to Dobby * Godric's Hollow Graveyard * Harry and Ginny * Obliviate * Ron Leaves * Snape to Malfoy Manor * Courtyard Apocalypse * Harry's Sacrifice * Lily's Lullaby * Lily's Theme * Severus and Lily * Statues.

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.

for solo organ Celebration is an exciting work for solo organ. Exuberant rhythms prevail in the outer sections (including a playful reference to Walton's Crown Imperial), framing more pensive music at the centre of the piece.

for SSATB unaccompanied. This atmospheric setting of the celebrated poem 'April Rain Song' by (the Harlem Renaissance writer) Langston Hughes captures the sense of comfort and security while listening to rainfall. The ebb and flow, careful phrasing, and rich harmony make this an ideal ensemble piece.