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Books > Music > Musical scores, lyrics & libretti
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.
A pad containing 75 pages with 18 staves per page. It is suitable
for course work or for large-format performance parts.
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.
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