The knowledge of note reading, intervals, rhythm, music symbols and terms, and the ability to listen are essential to the development of a strong foundation for the piano student. This THEORY book was written to help provide this foundation by giving students reinforcement of the concepts presented in the LESSONS book of the DAVID CARR GLOVER METHOD FOR PIANO. As the students advance in their ability to play the piano, the THEORY book will help give them a better understanding of the music they are performing. The pages are designed to be interesting and fun for the students in order to spark their enthusiasm and increase their motivation.

for SATB and guitar or piano This anthem sets a powerful poem by John Henry Newman that reflects on the spirituality of solitude. An imaginative interplay between voices and instrumental accompaniment is prevalent throughout, with effective contrasts between tranquillo and animato sections and delicate ostinato patterns. An alternative accompaniment for guitar (the composer's original instrumentation) is available for purchase. The anthem is also available in a version for SSA and piano or harp.

for SATB and piano with optional bass and drum kit In this jazzy setting of William Blake's Introduction to his Songs of Innoncence, Chilcott's extended harmonies and syncopated melodies bring new energy to the text, challenging the expectation of the listener. The voices are supported by a stylistic piano part, which may be played as written or serve as a guide, and the optional bass and drum kit part is printed at the back of the score. Also available in a version for SSA, piano, and optional bass and drum kit in Jazz Songs of Innocence.

for SSAA and piano This is a beautiful piece setting an evocative text by Anne Bronte that explores natural imagery on a blustery day and the feelings they inspire. Supported by the piano acccompaniment, Quartel's soaring melodies, rich harmonies, and syncopated rhythms illustrate the power of the wind, while its unpredictable nature is hinted by the hemiolas and cross-rhythms throughout the texture. This is suitable for festival and concert performance.

for SATB unaccompanied Originally published in Sun, Moon, Sea, and Stars, 'Deep in the night' sets a poem by Sara Teasdale that likens a heart seeking its love to a swallow's cry. Chydenius's rich harmonies, syncopated melodies, and modal inflections paint an image of the starry night, while the underpinning bass ostinato provides rhythmic drive.

for SATB and piano or harp Higgins's arrangement of Away in a manger is beautiful and delicate. The first verse is taken by unison upper voices; the second is a cappella, with a soloist (or small group) on the melody accompanied by sustained 'ooh's; and the last verse features fresh, homophonic harmonies. The piano/harp accompaniment twinkles gently around the voices, contributing towards the magical character of the arrangement.

for SS and organ This movement from Make We Merry sets the words of the seventeenth-century Christmas text 'Sweet was the song' to a straightforward and lyrical solo line in the first soprano part, with an imitative second soprano part joining towards the end. The organ accompaniment gently underpins the tender vocal lines throughout.

for SATB unaccompanied Alan Bullard's simple, uplifting setting of words by eighteenth-century writer and Calvinist minister Joseph Hart is perfectly suited to the Every Voice Rejoice series. The anthem is characterized by flexible rhythms that sensitively complement the metre of the text and a beautifully reflective set of Amens at its close.

for SATB and piano Tarney's setting of this traditional Scottish text offers catchy melodies and folk-inspired harmonies, driven by a rhythmic piano accompaniment. The ballad is framed by a repeating, haunting, and ethereal a cappella phrase that hints at the unearthly nature of the subject. Also available for cambiata voices in the Emerging Voices series.

for SSAA and hand drum Sing, my Child sets a joyful text celebrating the beauty found all around us in everyday life. Characterized by tight harmonies and a dynamic percussion line, the buoyant 7/8 metre of the opening drives the piece forward. Lush harmonies colour the hymn-like B section as the text evolves into a call for strength despite the troubles that may come. Also available in a version for SATB and hand drum.

Megawattage sound systems have blasted the electronically enhanced riddims and tongue twisting lyrics of Jamaica's dancehall DJs across the globe. This high energy raggamuffin music is often dismissed by old school roots reggae fans as a raucous degeneration of classic Jamaican popular music. In this provocative study of dancehall culture, Cooper offers a sympathetic account of the philosophy of a wide range of dancehall DJs: Shabba Ranks, Lady Saw, Ninjaman, Capleton, Buju Banton, Anthony B and Apache Indian. She demonstrates the ways in which the language of dancehall culture, often devalued as mere 'noise, ' articulates a complex understanding of the border clashes that characterize Jamaican society. Cooper also analyzes the sound clashes that erupt in the movement of Jamaican dancehall culture across national borders. MARKET 1: Media and Cultural Studies; Afro-Caribbean Studies; Popular and Youth Culture; Music; Linguistic

The final collaboration between Rodgers & Hammerstein was destined to become the world's most beloved musical. Featuring a trove of cherished songs, including "Climb Ev'ry Mountain," "My Favorite Things," "Do Re Mi," "Sixteeen Going on Seventeen" and the title number, The Sound of Music won the hearts of audiences worldwide, earning five Tony Awards and five Oscars. The inspirational story, based on the memoir of Maria Augusta Trapp, follows an ebullient postulate who serves as governess to the seven children of the imperious Captain Von Trapp, bringing music and joy to the household. But as the forces of Nazism take hold of Austria, Maria and the entire Von Trapp family must make a moral decision. The Sound of Music opened at Broadway's Lunt-Fontanne Theatre on November 16, 1959, and Rodgers & Hammerstein's last musical was a triumph. It ran for 1,443 performances and earned five Tony Awards, including Best Musical. In addition, the cast album earned a Gold Record and the Grammy Award. Florence Henderson starred in the first national tour, which played for over two years. Jean Bayless created the role of Maria in the original London production, which ran for over six years, long holding the record as the longest-running American musical in London.

Behind Bars is the indispensable reference book for composers, arrangers, teachers and students of composition, editors, and music processors. In the most thorough and painstakingly researched book to be published since the 1980s, specialist music editor Elaine Gould provides a comprehensive grounding in notational principles. Behind Bars covers everything from basic rules, conventions and themes to complex instrumental techniques, empowering the reader to prepare music with total clarity and precision. With the advent of computer technology, it has never been more important for musicians to have ready access to principles of best practice in this dynamic field, and this book will support the endeavours of software users and devotees of hand-copying alike. The author's understanding of, and passion for, her subject has resulted in a book that is not only practical but also compellingly readable. This seminal and all-encompassing guide encourages new standards of excellence and accuracy and, at a weighty 704 pages, it is supported by 1,500 music examples of published scores from Bach to Xenakis. This is a hardback book, with dust jacket.

for SSAATTBB unaccompanied When spring comes walking is a warm and optimistic setting of an evocative poem by Charles Bennett that explores themes of rebirth, nature, and celebration. Chilcott embraces the return of spring with gentle sustained melodies, rich harmonies, and a quote from the traditional carol 'O come, O come, Emmanuel'. This piece is suitable for both advent and Easter.

for SSAA unaccompanied or with optional handbells (or percussion, or organ) Sarah Quartel brings a fresh take on a familiar fifteenth-century text in this carol for upper voices. The dialogue between Mary and the infant Jesus is woven to a beguiling folk-like melody, in 6/8 metre, through each of the voice parts, with each verse ending in the lilting refrain 'Lully, by by, lullay'. The carol may be sung unaccompanied, though for added sparkle there is an optional part for handbells (or percussion or organ).

for unison voices, with optional descant, and piano This attractive piece for unison voices celebrates the wonder of the 'bright new moon'. The composer's own text, based on traditional Hebridean poems, is set to a simple, flowing melody, and the optional descant in the final section soars over the melody and introduces an echo effect. The piano accompaniment supports the vocal lines while providing additional colours and textures.

for unison voices, with optional second part, and piano This is the key is a dramatic, narrative piece, perfect for children's and youth choirs. It can be sung in unison throughout, or the score contains options for two parts, sometimes singing alternating phrases and at other times singing together in two-part harmony. Sections in different tempos and keys create a variety of moods, and the continuous piano part features running quavers, a rhythmic bass line, and shimmering spread chords.

for SATB (with divisions) and piano or small orchestra Originally published in Carols for Choirs 2, Rutter's arrangement of this well-known carol is energetic and joyful. The memorable and buoyant melody is supported and driven by lively piano accompaniment, making it well-suited for Christmas concerts and services. Orchestral material is available on hire.