This rhythmic and spirited setting of the familiar hymn starts off with men's voices split into three- to six-part harmony in homophony. The women join and the texture thickens and varies producing a broad and spacious sound, decorated with syncopation and dramatic pauses. This compelling arrangement is certain to gain standing ovations and is a 'must have' for larger church, concert, and university choirs.

In this compilation, first published in 1999, Ian Ledsham compiles an extensive catalogue of the Shaw-Hellier Collection, complete with diagrams regarding how we use text.

for SATB, clarinet, and piano Every Thing That Grows is an meaningful and uplifting setting of Shakespeare's Sonnet 15. Chilcott employs captivating vocal lines, a flowing piano part, and expressive clarinet interludes to reflect on the text's theme of mortality, with a profound closing section calling the listener to reflect upon the immortalising couplet 'And all in war with Time for love of you, As he takes from you, I engraft you new'.

Heather Laing examines, for the first time, the issues of gender and emotion that underpin the classical style of film scoring, but that have until now remained unquestioned and untheorized, thus providing a benchmark for thinking on more recent and alternative styles of scoring. Many theorists have discussed this type of music in film as a signifier of emotion and 'the feminine', a capacity in which it is frequently associated with female characters. The full effect of such an association on either female or male characterization, however, has not been examined. This book considers the effects of this association by progress through three stages: cultural-historical precedents, the generic parameters of melodrama and the woman's film, and the narrativization of music in film through diegetic performance and the presence of musicians as characters. Case studies of specific films provide textual and musical analyses, and the genres of melodrama and the woman's film have been chosen as representative not only of the epitome of the Hollywood scoring style, but also of the narrative association of women, emotion and music. Laing leads to the conclusion that music functions as more than merely a signifier of emotion. Rather, it takes a crucial role in both indicating and determining how emotion is actually understood as part of the construction of gender and its representation in film.

Easy arrangements of 50 treasured hymns: Abide with Me * Amazing Grace * At the Cross * Crown Him with Many Crowns * Fairest Lord Jesus * Higher Ground * Holy, Holy, Holy * I Love to Tell the Story * Jesus Loves Me * Nearer, My God, to Thee * Precious Memories * Rock of Ages * Sweet By and By * We Gather Together * What a Friend We Have in Jesus * When We All Get to Heaven * and more.

Newly engraved and revised edition of Gleichauf's classic vocal score. Composed in in Salzburg in 1769, Mozart modeled this youthful work closely on a similar one by Michael Haydn (for which reason its authenticity had long been questioned). Mozart's piece divides the lengthy liturgical text into three contrasting sections, including a final rousing double fugue. Musicologist Alfred Einstein described the work as "sure in construction, thrilling in its choral declamation, and having a certain rustic South-German grandeur."

(Fake Book). Hal Leonard proudly presents new "mini" editions of its best-selling Real Books. These 5.5 x 8.5 little books pack a big jazz punch; they include all 400 fantastic songs found in the 9 x 12 versions: Ain't Misbehavin' * All or Nothing at All * Along Came Betty * Cheek to Cheek * East of the Sun (And West of the Moon) * Funkallero * H & H * I've Got the World on a String * I've Got You Under My Skin * The Jive Samba * The Lady Is a Tramp * Milestones * Moonlight in Vermont * A Nightingale Sang in Berkeley Square * On a Clear Day (You Can See Forever) * Samba De Orfeu * Stormy Weather (Keeps Rainin' All the Time) * Things Ain't What They Used to Be * The Very Thought of You * Violets for Your Furs * Watermelon Man * and hundreds more.

Composed around 1779 while still in Salzburg, this youthful setting of the Marian text in C major has been a staple of the choral repertoire for more than a century. This new, digitally-enhanced vocal score is reproduced from the one originally issued by Breitkopf und Hartel, Leipzig, to coincide with the complete works (1876-1905) with a piano reduction by J. G. Scheel.

The golden age of Tin Pan Alley, from about 1880 to 1950, comes alive in this first in a series of books about the very collectible sheet music that now command surprising prices. Beautifully illustrated with more than 500 photos of original sheet music covers from the period, The Gold in Your Piano Bench provides a wealth of invaluable historical reference material. Pricing guidelines based on actual auction sales provide accurate data for collection evaluation. A solid addition to a well-rounded library of music literature for collectors, educators, students, musicians, and other nostalgia seekers.

On the CD you will find two specially and professionally recorded 'soundalike' tracks for each song, the first being a full demonstration with guitar showing exactly how the song should sound. The second version is a full backing track without guitar for you to play along with Metallica themselves! The matching music book contains both standard notation and tablature for every song plus chord symbols and complete lyrics for vocalists. This title includes songs such as: "Enter Sandman"; "Fade to Black"; "Nothing Else Matters"; and; "Ain't My Bitch".

This book contains nine pieces from ABRSM's Grade 6 Piano syllabus for 2021 & 2022, three pieces chosen from each of Lists A, B and C. The pieces have been carefully selected to offer an attractive and varied range of styles, creating a collection that provides an excellent source of repertoire to suit every performer. The book also contains helpful footnotes and, for those preparing for exams, useful syllabus information. The enclosed CD features inspiring recordings of all 30 pieces on the Grade 6 syllabus, performed by Yulia Chaplina, Mei Yi Foo, Nikki Iles, Dinara Klinton, Charles Owen, Robert Thompson and Richard Uttley.

Composed for an Easter Sunday performance in 1715 during Bach's tenure as court composer at Weimar, this cantata has long been a favorite among the more than 250 he wrote. Unabridged electronically enhanced reprint of the vocal score first issued by C. F. Peters in ca. 1880.
1. Sonata
2. Coro: Die Himmel lacht, die Erde jubilieret
3. Recitativo: Erwunschter Tag Sei, Seele, wieder froh
4. Aria: Furst des Lebens, starker Streiter
5. Recitativo: So stehe denn, du Gott ergebne Seele
6. Aria: Adam muss in uns verwesen
7. Recitativo: Weil denn das Haupt sein Glied, nat rlich nach sich zieht
8. Aria: Letzte Stunde, brich herein
9. Chorale: So fahr ich hin zu Jesu Christ

for SSATB and cello Night Flight was written to mark the centenary of Harriet Quimby's pioneering flight across the English channel. Setting texts by Sheila Bryer on the mysterious powers of the sea, earth, and air, McDowall uses vocal clusters and haunting solo cello lines to highlight the sense of fear, awe, and majesty experienced by an individual pitted against the elements. Cecilia McDowall was awarded the 2014 British Composer Award in the Choral category for Night Flight.

In this song book the composer Donald Swann gives Tolkien characters Bilbo, Treebeard, Sam Gamgee and Tom Bombadil tunes for their ballads of the road.

Professor Tolkien approved of this and added a tune of his own, decorated the book in his own hand and added a glossary of Elvish terms and lore that appears nowhere else.