Motown is celebrating its 40th anniversary this year and one of its headline groups was certainly The Temptations. This hit by the Temps epitomizes the down-to-earth rhythm and blues style that made their music so popular.

SATB with organ and soprano solo- Let Your Heart Not Be Troubled is a setting of text from St. John xiv: 1 27 by Oley Speaks . This is an arrangement for SATB choir with Organ accompaniment by Lucien G. Chaffin .

Two-part chorus of treble or mixed voices with piano accompaniment. A beautiful traditional Irish ballad arranged for 2 part choir of treble or mixed voices by Margaret Vance.

This early jazz classic by Miles Davis is an excellent vehicle for introducing the blues. The trumpet soli section is derived from Miles' original solo and may be performed either as a solo or as a section feature.

Incorporating Gloria-The Angels' Gloria combines the traditional French carol Angels We Have Heard on High with an original melody creating a truly heavenly chorus. Arranged for SATB three-part mixed or two-part treble voices this shiningChristmas octavo is appropriate for any age or skill level.

From the Choral Tradition Series in both German and English

This cycle of settings of poems by Paul Celan was written between May and July 1990 for Ute Lemper. The texts are taken from the following collections: 'Chanson einer Dame im Schatten' and 'Corona' from Mohn und Gedachtnis(1952) 'Nachtlich geschurzt' from Von Schwelle zu Schwelle (1955) 'Blume' from Sprachgitter (1959) and 'Es war Erde in ihnen' and 'Psalm' from Die Niemandsrose of 1963. The settings of 'Corona' and 'Blume' both introduce an eight-barchord sequence derived from Chopin's Mazurka in A minor Op.17 No.4 (the introduction to which was used by Gorecki in his Symphony No.3). Piano and voice version written in 1997 at the request of Hilary Summers.

From In The World Of Nature- Im Haine (In Nature Op.63) was a song-cycle written in 1882 for amateur performance. The five unaccompanied part-songs were settings of poems by the Czech poet Vitezslav Halek inspired by the countryside. No. 2 is loosely translated as “Bells Ring At Dusk” and tells of the bells ringing to call people to Vespers at the end of the day. It is scored for SATB choir a cappella. Antonin Dvorak (1841-1904) was best known for his New World Symphony composed in the short time he spent in America – the rest of his career was spent in his native Bohemia and the rest of Europe.

Commissioned by the Verdehr Trio Tibetan Dance had its first performance on March 7 2001. The three-movement work is based on the rhythm and melodic motive of a Tibetan folk dance from Qinghai a Chinese province by the borderof Tibet where the composer lived during his teenage years. 15 minutes. Tibetan Dance was composed in October 200 for the Verdehr Trio of the Michigan State University. Scored for Clarinet Violin and Piano it calls upon the musicians to also use their instruments as percussion with the violinist sometimes tapping the soundboard to create a drum-like rhythm. Written as three movements: Prelude – Song – Dance it weaves together themes from China Japan and the composer’s native Tibet creatinga mesmerising cross-cultural counterpoint. Bright Sheng is a contemporary Chinese composer who settled and studied in America following the Cultural Revolution. He is known for writing traditional Chinese tunesand folk songs in a western style.

Perfect as a pop concert closer the music of Freddie Mercury and Queen continues to wow a new generation of listeners. Includes: Another One Bites the Dust Bohemian Rhapsody We are the Champions and We Will Rock You. Performance Time: Approx. 4:40. Perfect as a pop concert closer the music of Freddie Mercury and Queen continues to wow a new generation of listeners. Includes: Another One Bites the Dust Bohemian Rhapsody We are the Champions and We Will Rock You. Performance Time: Approx. 4:40.

Quoting Burgon: My first thought on receiving this commission was what sort of text would suit. Something on the general idea of growth - starting very small and blossoming was the obvious way to go but it wasn’t until I foundthe Andrew Marvell poem Music’s Empire that I really got going. The poem is about the invention and development of music; this might sound a bit dry but in fact it is both charming and dramatic and it is also apt in that it canbe set for both solo voice and chorus. The other factor to be considered in writing this piece was the Purcell connection. Purcell wrote Come Ye Sons of Art in 1964 the year the bank was founded and this piece is alsoincluded in the celebratory concert. So I wanted to include some homage to HP as well. Marvell’s poem is the sort of text that Purcell might have set had he come across it. It is a sort of Ode of text that Purcell might haveset had he come across it. It is a sort of Ode to St Cecelia and he wrote one of those as we know. So I have referred to Purcell in two particular ways; I have quoted Come Ye sons of Art directly and I have used thecountertenor. Purcell himself sang countertenor in many of his own pieces and wrote some of the most gorgeous music ever written for that voice. I also happened to love both Purcell’s music and the countertenor so writing thispiece was really a labour of love. It is scored for countertenor mixed chorus and symphony of orchestra - rather larger than any orchestra that Purcell had access to as far as I know but one in which I’m sure he would haverevelled in given the opportunity. It is about ten minutes in duration.

Edited by Max Vogrich for the intermediate to advanced pianist.

Sheet Music The Black Swan is an aria from the opera The Medium by Gian Carlo Menotti. The work is arguably Menotti's most famous serious opera and it opened at the Ethel Barrymore Theater on Broadway in 1947.

Parker and Govenor have combined their creative talents to produce this meaningful Christmas morning celebration. May be used as an effective call to worship or as an anthem anytime during the Christmas season. Available: SATB. Duration: ca. 2:10.

For Oboe and String quartet. Published 1984. Commissioned by James Ostryniec. First performance: Tokyo (Interlink Festival) 1984 James Ostryniec (oboe) New Arts String Quartet. For Oboe and String quartet. Published 1984. Commissioned by James Ostryniec. First performance: Tokyo (Interlink Festival) 1984 James Ostryniec (oboe) New Arts String Quartet.

This book and online audio is a treasure-trove of improvisational techniques. Twenty-nine techniques are covered including: arpeggios targeting chromaticism side-slipping negative tonal space poly-rhythms resolution melodic expansion and more. Anyone interested in the art of jazz improvisation regardless of ability will find this book indispensable. The author Jay Umble guarantees something for everyone. All examples are presented in standard notation and tablature. Includes access to online audio for all examples.This book and online audio set is a treasure-trove of improvisational techniques. Twenty-nine techniques are covered including: arpeggios targeting chromaticism side-slipping negative tonal space poly-rhythms resolution melodic expansion and more. Anyone interested in the art of jazz improvisation regardless of ability will find this book indispensable. The author Jay Umble guarantees something for everyone. All examples are presented instandard notation and tablature. Includes access to online audio for all examples.

One Piano Four Hands-One Piano Four Hands. To see other NFMC selections click here . Dvorak's Slavonic Dances arranged for piano four-hands. Edited and fingered by Albert Von Doenhoff.

For Trebles and organ by Lennox Berkeley. Adapted from A Festival Anthem op.21 no.2 (1945)

For String Quartet and taped natural sounds. Dedicated to and premiered by the Duke Quartet.

The Musical Theatre Essentials series represents the ultimate selection of songs from the stage. Volumes are available for Soprano Mezzo-Soprano Tenor and Baritone/Bass either with or without accompaniment CDs. Unique song lists are provided in the books for each vocal range including this volume for Mezzo-Soprano. Newly edited and engraved with Vocal line and Piano accompaniment the two Mezzo-Soprano volumes from the Musical Theatre Essentials series provide a golden opportunity to celebrate the music of the stage containing songs from classic and modern musicals such as: Cabaret Evita Guys and Dolls Mamma Mia! and Les Miserables .The Musical Theatre Essentials series represents the ultimate selection of songs from the stage. Volumes are available for Soprano Mezzo-Soprano Tenor and Baritone/Bass either with or without accompaniment CDs.Unique song lists are provided in the books for each vocal range including this volume for Mezzo-Soprano. Newly edited and engraved with Vocal line and Piano accompaniment the two Mezzo-Soprano volumes from the Musical Theatre Essentials series provide a golden opportunity to celebrate the music of the stage containing songs from classic and modern musicals such as: Cabaret Evita Guys and Dolls MammaMia! and Les Miserables .