Search Results for: “still”

* Taxes/VAT calculated at checkout

(There's No Place Like) Home For The Holidays View 93 Products Still, Still, Still View 50 Products I Believe View 35 Products Feel It Still View 32 Products You're Still The One View 24 Products It's Still Rock And Roll To Me View 24 Products My Heart Stood Still View 21 Products I'm Still Standing View 20 Products Will You Love Me Tomorrow (Will You Still Love Me Tomorrow) View 20 Products Deja Vu View 10 Products Suite: Judy Blue Eyes View 9 Products The Breeze And I View 6 Products Still Crazy After All These Years View 6 Products Bluebird View 6 Products Stille Nacht View 5 Products Iv Stille Nacht View 5 Products The Great Escape March View 4 Products I Still Believe View 3 Products Calm As The Night (Still Wie Die Nacht) View 3 Products Stille, Stille, Stille View 3 Products You're Still A Young Man View 2 Products Suit & Tie View 1 Product Say 'Si, Si' View 1 Product Jingle All The Way View 1 Product

Herb Frombach | Hal Leonard Herb Frombach Herb Frombach was born in Johnstown, PA. He attended the Indiana University of Pennsylvania where he received his B.S. in Music Education. Herb has held positions as a high school music teacher and church choir director. Although he is now retired, he still enjoys working as a part-time piano technician. As a free-lance composer and lyricist he has over 300 published manuscripts. Herb now lives with his wife Sandra in southeastern Pennsylvania. Publications by Herb Frombach

2022 Voices of Distinction Welcome to the 2022 Voices of Distinction We invite you to enjoy exploring a wide selection of new sacred and secular choral releases for college, community and professional ensembles, including works for mixed, women's and men's ensembles, plus a wealth of choral resources. Click here to view the full PDF of this promotion. Still looking for the 2021-2022 Voices of Distinction titles? Click here to view them!

2023 Voices of Distinction Welcome to the 2023 Voices of Distinction! We invite you to enjoy exploring a wide selection of new sacred and secular choral releases for college, community and professional ensembles, including works for mixed, women's and men's ensembles, plus a wealth of choral resources. Still looking for the 2022-2023 Voices of Distinction titles? Click here to view them!

First 50 You’ve been taking lessons, you’ve got a few chords under your belt, and you’re ready to buy a songbook. Now what? Hal Leonard has the answers in its First 50 series. The First 50 series steers new players in the right direction. These books contain easy to intermediate arrangements for must-know songs. Each arrangement is simple and streamlined, yet still captures the essence of the tune.

2022 Worship Songs - New Music for Fall and Christmas Welcome to Worship Songs – Fall, Christmas, and Advent 2022 edition. Just in time for the new season, we are here to help with your planning needs. We invite you to enjoy exploring a wide selection of new resources for your music ministry with new publications from Hal Leonard, Shawnee Press, Fred Bock Music Company, Hinshaw, and many others. Click to go to the YouTube playlist that will show you the actual scores while playing the full recording of each title. Still looking for Spring/Lent/Easter titles? View the Spring 2022 Worship Songs here

2023 Worship Songs - New Music for Spring, Lent and Easter Welcome to Worship Songs – Spring & Easter 2023 edition. We invite you to enjoy exploring a wide selection of new resources for your music ministry with new publications from Hal Leonard, Shawnee Press, Fred Bock Music Company, Hinshaw, and many others. Click to go to YouTube playlist that will show you the actual scores while playing the full recording of each title. View the 2022-2023 Worship Songs Jr. playlist here. Still looking for Fall/Advent/Christmas titles? View the Fall 2022 Worship Songs here We wish you all the best as you select music for your ensembles. We invite you to contact us by email at church@halleonard.com with your questions and comments.

2024 Worship Songs - New Music for Lent, Spring and Easter Welcome to Worship Songs – Spring & Easter 2024 edition. We invite you to enjoy exploring a wide selection of new resources for your music ministry with new publications from Hal Leonard, Shawnee Press, Fred Bock Music Company, Hinshaw, and many others. Click here to go to the YouTube playlist that will show you the actual scores while playing the full recording of each title. View the 2023-2024 Worship Songs Jr. playlist here. Still looking for Fall/Advent/Christmas titles? View the Fall 2023 Worship Songs here Get free shipping on your new music! Use ad code WSS24 at checkout to receive free shipping on orders over $25 with items from this promotion. Offer expires 6/30/2024. Free shipping to the contiguous US only. May not be combined with any other offer.

Record/Broadcast/Synch: Broadcast or make videos of your performance | Hal Leonard Using Hal Leonard published songs in your virtual ensemble or performance video *In many cases Hal Leonard will not control virtual ensemble rights to the composition you wish to perform. Please read the below instructions in full to learn how to secure permission for your virtual performance. Does Hal Leonard Control Audio & Video Rights? Although Hal Leonard creates sheet music for numerous publishers, we can only issue video and audio rights for songs we own. Here’s how you can determine if Hal Leonard can handle your video or audio request. Find at the copyright notice at the bottom of the first page of music. If the copyright notice includes a Hal Leonard owned publisher, we can handle your request. Hal Leonard owned publishers are: Curnow Music Press De Haske Publications Emersongs Hal Leonard - Milwin Music Corp. Jenson Publications King's Singers / KS Music MJQ Music Musicworks Rubank, Inc. If the copyright notice contains other publisher names, Hal Leonard likely cannot handle your request. Please contact the song’s copyright owner(s), as listed in the copyright notice, to secure the necessary permission. You may obtain contact information for song copyright owners from the following performance rights societies: ASCAP (www.ascap.com) BMI (www.bmi.com) SESAC (www.sesac.com) Global Music Rights (www.globalmusicrights.com) Additionally, while Shawnee Press, Inc. was purchased by Hal Leonard LLC, contractually Wise Music still retains these rights for compositions copyrighted prior to 2010. Please contact them at the following address for the appropriate permission: Wise Music (formerly Music Sales Corporation) 1247 6th Street Santa Monica, CA 90401 Tel: 310-393-9900 Fax: 310-393-9925 https://www.wisemusic.com/ If you are a church with a CCLI or OneLicense agreement, please go to www.ccli.com/streaming or www.onelicense.net for more information about live-streaming your worship service. Still wish to proceed? No, I want to select a different request type Yes, please continue with my request

Deborah Brady | Hal Leonard Deborah Brady Music educator and composer Deborah Brady began her career while still an undergraduate, teaching keyboard theory courses at Shorter College. During the same period, she also taught private piano and guitar. Nationally certified by the American College of Musicians, Ms. Brady currently operates a thriving private studio and composes educational music. Some of her compositions appear in the NFMC 2008-2010 Festivals Bulletin. Before turning to full-time teaching and composing, Ms. Brady juggled roles as music director, performer, writer, arranger, vocalist and co-owner of an Atlanta-area recording studio with her husband, Tom. As a soloist, she has performed extensively throughout the southeast and has appeared on numerous regional television and radio programs. Ms. Brady holds a Bachelor of Music degree from Shorter College, where she studied with Mr. William Knight. She completed her Masters and Doctoral programs by extension from Victory Institute. Her professional affiliations include: BMI, Music Teachers National Association, National Guild of Piano Teachers, National Federation of Music Clubs, Georgia Music Teachers Association, and the Gwinnett County Music Teachers Association. Publications by Deborah Brady

Barbara Buehlman | Hal Leonard Barbara Buehlman Barbara Buehlman was one of the first American women band directors to receive national recognition. Her grade school and junior high school bands in Round Lake, Illinois enjoyed a national reputation and were frequently invited to perform at national conferences. She wrote numerous band arrangements, several of which are still in print and included on the repertoire lists for state festivals. Buehlman was equally well known for her work as an administrator. From 1980–1997, she served as Executive Administrator of the Midwest International Band and Orchestra Clinic. During her tenure, the Midwest expanded in both size and scope, becoming the largest instrumental music education conference in the world. She held similar administrative positions with the Illinois Grade School Music Association and the Northshore Concert Band, and was the second woman to be elected to the American Bandmasters Association and to be given the Midwest Clinic Medal of Honor. Inspired by her career, women band directors became more and more common, and numerous directors have acknowledged Buehlman as a role model.

Robert Baksa | Hal Leonard Robert Baksa Robert Baksa was born in New York City in 1938 of Hungarian Parentage and is one of America's most prolific composers. He grew up in Tucson, Arizona and eventually earned a BA in Composition at the University of Arizona. He returned to live in New York City in the early 60s. He has written more than 500 pieces of music since his first efforts as a teenager. Since his earliest New York reviews critics have noted his melodic gifts, the structural clarity and harmonious nature of his music. His first pieces, short piano pieces written in the early 1950s which he later arranged for wind trio, are in fact still being performed around the world. His numerous choral pieces have been performed in many countries and his art songs have been featured in two recent studies on the subject of American Art Song. Performers who have been associated with his music include Harpsichordist Elaine Comparone who has commissioned a number of works, Saxophonist Paquito D'Rivera, Sharon Robinson, The Boehm Wind Quintet, the Virtuosi Wind Quintet, the Bronx Arts Ensemble, the Sylvan Winds and the St. Luke's Chamber Ensemble which began its existence with a full evening of Baksa's music. The composer makes his home in Columbia County in the Mid Hudson Valley where he serves as New Music Coordinator and Composer in Residence for the Pleshakov Music Center. Publications by Robert Baksa

Edna Mae Burnam | Hal Leonard Edna Mae Burnam Edna Mae Burnam (1907-2007) is one of the most respected names in piano pedagogy. She began her study of the instrument at age seven, with lessons from her mother, and went on to major in piano at the University of Washington and Chico State Teacher's College in Los Angeles. In 1935, she sold "The Clock That Stopped"--one of her original compositions still in print today--to a publisher for $20. In 1937 Burnam began her long and fruitful association with Florence, Kentucky-based Willis Music, who signed her to her first royalty contract. In 1950, Burnam sent manuscripts to Willis for an innovative piano series comprised of short warm-up exercises; her hand-drawn, for-position-only stick figures indicated where "real" illustrations should be dropped in. That manuscript became the Dozen a Day series, which has sold more than 25 million copies worldwide; the stick-figure drawings are now icons. Burnam followed up on the success of A Dozen a Day with her Step by Step Piano Course. This method teaches students the rudiments of music in a logical order, for gradual and steady progress. She also composed hundreds of individual songs and pieces, many based on whimsical subjects or her international travels. These simple, yet effective learning tools for children studying piano have retained all their charm and unique qualities, and remain in print today in the Willis catalog. Publications by Edna Mae Burnam

Vicki Courtney | Hal Leonard Vicki Courtney Vicki Tucker Courtney was born to play the piano. While the other four-year-olds in her Dallas neighborhood were learning to ride their tricycles, Vicki was taking piano lessons. Vicki's first piano teacher regularly entered her in the Van Katwijk Piano Contests. It was this early exposure to the world of competitive piano that led to an opportunity to study under Paul van Katwijk, himself, a successful composer and the conductor of the Dallas Symphony. While in high school, Vicki's education in musical theory and improvisation opened up new possibilities. With confidence and determination, Vicki embarked on a journey to develop herself as a composer and arranger. No one worked harder than Vicki as she played for every chorus and choral production the school offered, sometimes performing her own compositions and arrangements. Immediately after high school, Vicki was hired as Director of Music for the Youth and Children's Choirs at a local church while studying Piano Performance at North Texas University. Regrettably, the call of corporate America lured Vicki away from her musical pursuits. Many years went by until she was asked to perform at a memorial concert for a previous mentor, which lead Vicki back to her roots in music and her God-given talent. It was time to return to the piano and share with others the joy and healing that beautiful music can affect. Vicki was able to regain the skills and abilities needed to attain a professional church staff position. In 2002, Vicki was apprenticing with Mark Hayes, renowned for sacred and secular choral music and piano arrangements. By May of 2004, Vicki had received her first published choral arrangement and by the same month in 2009, she had acquired over 100 published titles. As a member of ASCAP and ACDA, Vicki currently writes full time while giving private piano lessons. Her talents are still in demand as she is routinely invited to play church services and choral concerts. Publications by Vicki Courtney

Benjamin Britten Article | Hal Leonard Distributed by Britten Home YouTube Festival Biography Choral Publications Article: Explore the Choral Music of Benjamin Britten by Paul Spicer Benjamin Britten (1913-1976) was a unique force in British music. Of the fine composers among his contemporaries, none wrote such a wide variety of music across such a broad spectrum of genres and for such a range of ages and abilities. In many ways, though he might have been surprised by the comparison, he was the natural successor to Vaughan Williams, whose instincts for community and the nurture of amateur musicians brought him an almost cult-like status in Britain. Britten did not devote himself so wholeheartedly to these things, but a sizeable proportion of his choral music is easily within the reach of a good ordinary choir, another part is well within the grasp of a reasonable church choir, and there is, of course, all the music he wrote specifically for children. Among the 60 or so non-operatic choral works there are also works which are exceptionally demanding and perhaps best left to professionals and outstanding amateurs. The range of this output and the frequency of performance of the better-known works underline Britten's ubiquity in the world of choral singing, not just in the English-speaking community but far beyond. As with many composers who have devoted themselves to writing a large corpus of music for one particular genre, Britten has suffered from being too well-known for a few familiar pieces. Rejoice in the Lamb, A Ceremony of Carols, Hymn to the Virgin, Hymn to St Cecilia, Jubilate Deo in C and others have tended to obscure the fuller picture of Britten's choral output and, if nothing else, I hope that choral directors will look beyond their favourites and explore the rich variety of music which is still almost undiscovered. Schools, or choirs of upper or lower voices, will find music here of wonderful quality which rarely sees the light of day. Similarly, there is a genuine mix of sacred and secular and some useful blurring of the edges where words can be equally appropriate in either context. I hope that the corresponding online guide will also be of real practical help to those who aim to build programmes which may be structured in specific ways - thematically, by voice type, by religious or non-religious setting, or by the balancing of a well-known piece by a less-familiar or almost unknown work. It is a spirit of discovery and adventure which should fire the imagination, and it is a love of all this music which has inspired the commentary writing. Britten was a practical composer. He knew that the music he wrote was performable because he himself was an accomplished professional musician. This is, again, where the Vaughan Williams analogy holds true. To be there, in among those doing the singing, directing the performance, advising other conductors and acquiring great expertise and experience over a creative lifetime, gave him an unusual insight into what choirs enjoy singing. He discovered what levels were attainable by different types of group, and did much to encourage that sense of ambition which has led to a genuine rise in the quality of amateur choral music-making. Britten was also a practical composer because he gave his performers all the information they need to deliver a convincing and 'authentic' performance - his scores have clear and unambiguous performance directions throughout. He is known to have remarked that, if musicians follow his instructions to the letter (and can play or sing the notes in an accurate and musical fashion), they will give a performance of which the composer would approve. So the principal instruction to choral directors is to prepare the score thoroughly prior to embarking on rehearsals. Read the words in order to understand Britten's setting of them, and mark, learn and inwardly digest Britten's clear instructions about speed, dynamics, phrasing, and, often most importantly, articulation. The mood of a piece so often comes from the composer's approach to the text. Britten tended to choose texts which were not widely set by other composers. But to compare, for instance, his two connected settings of Gerard Manley Hopkins' "God's Grandeur" in A.M.D.G. and "The World of the Spirit" with Kenneth Leighton's version is to clearly demonstrate the point. No two responses could be more different and yet each excitingly shows the composer's individual reaction to the poem. To examine Britten's popular Jubilate Deo in C alongside Howells' Collegium Regale setting of the same words written some fifteen years earlier is, again, to emphasize how their idiomatic interpretations of the text helped shape each piece. Britten's style grew out of the English choral tradition he knew so well. He had not been a cathedral chorister but had boarded at Gresham's School from the age of 14. There he was exposed to the standard repertoire of the Anglican Church and his earliest well-known piece, "A Hymn to the Virgin," was written when he was only 16 and still a schoolboy. It unequivocally shows his feeling for the beauty and potential of choral sound, so it is no wonder that such precocious talent should develop to the extent it did. While there are pieces from his output which are more stylistically searching, this early gem sets the scene for a choral output that is essentially approachable, tonal, lyrical, and pleasing to both performer and listener. It is a remarkable legacy.

Wind In The Willows - Young @ Part | Hal Leonard Menu LEARN MORE About Young @ Part Showbox/Added Resources Order a Perusal Pack Online License Request 60-Min.ute Musicals [Young@Part] 60-Minute Musicals Addams Family All Shook Up Curtains Monty Python's Spamalot We Will Rock You Wind In The Willows 30-Min.ute Musicals [Younger@Part] 30-Minute Musicals Addams Family All Shook Up How I Became A Pirate Miss Nelson Is Missing Product Information Musical Numbers Cast of Characters Credits Book by: Julian Fellowes Music by: George Stiles Lyrics by: Anthony Drewe Based on the book by Kenneth Grahame Original Production Produced by Jamie Hendry Overview / Synopsis THE WIND IN THE WILLOWS Young@Part® is the authorized 60 minute edition of the West End musical for elementary and middle schools, and youth theatres. Through a series of workshops, our Young@Part® musicals are tailor-made for younger actors. Song keys are changed where needed, songs and scenes are edited for time and content, while keeping the spirit of the original West End show intact. There are great parts for girls, boys and can include any sized ensemble/chorus, who appear throughout the show. This riotous comedy follows Mole, Rat, Badger, and the impulsive Mr. Toad, whose antics land him in serious trouble. With his beloved home under threat from the notorious Chief Weasel and his gang of sinister Wild Wooders, Toad must attempt a daring escape leading to a series of misadventures and a heroic battle to recapture Toad Hall. Full of humor, wit, a gorgeous, soaring score, and heartwarming lessons of friendship, THE WIND IN THE WILLOWS Young@Part® is a rich 60-minute ensemble show perfect for schools and youth theatres. Print Perusal - HL00372940 $19.95 ShowBox - HL00372939 $675.00 This ShowBox includes: Cast Script/Vocal Books Director's Script Piano/Vocal Scores Guide Vocals CD Performance Tracks CD Young @ Part Request Individual Components 00372933 - Director's Guide $50.00 00372935 - Cast Script/Vocal Book $10.00 00372936 - Piano/Vocal Score $40.00 00372937 - Guide Vocals CD $50.00 00372938 - Performance Tracks CD $100.00 Hear A Sample Spring Messing About On a Boat Typical of Toad The Open Road Typical of Toad (Reprise) The Amazing Mr. Toad A Friend Is Still a Friend As If In a Dream To Be a Woman The Wassailing Mice As If In a Dream (Reprise) Taking Over Toad Hall Typical of Toad (Reprise 2) Finale Pt. 1 Finale Pt. 2 Cast Size 4 female, 4 male, and 4 gender-flexible featured roles Flexible casting and optional doubling in the expandable ensemble

Emma Lou Diemer | Hal Leonard Emma Lou Diemer Emma Lou Diemer was born in Kansas City, Missouri. Emma Lou played the piano and composed at a very early age and became organist in her church at age 13. Her great interest in composing music continued through College High School in Warrensburg, MO, and she majored in composition at the Yale Music School (BM, 1949; MM, 1950) and at the Eastman School of Music (Ph.D, 1960). She studied in Brussels, Belgium on a Fulbright Scholarship and spent two summers of composition study at the Berkshire Music Center. She taught in several colleges and was organist at several churches in the Kansas City area during the 1950s. From 1959-61 she was composer-in-residence in the Arlington, VA schools under the Ford Foundation Young Composers Project, and composed many choral and instrumental works for the schools, a number of which are still in publication. She was consultant for the MENC Contemporary Music Project before joining the faculty of the University of Maryland where she taught composition and theory from 1965-70. In 1971 she moved from the East Coast to teach composition and theory at the University of California, Santa Barbara. At UCSB she was instrumental in founding the electronic/computer music program. In 1991 she became Professor Emeritus at UCSB. Through the years she has fulfilled many commissions (orchestral, chamber ensemble, keyboard, choral, vocal) from schools, churches, and professional organizations. She has received awards from Yale University (Certificate of Merit), The Eastman School of Music (Edward Benjamin Award), the National Endowment for the Arts (electronic music project), Mu Phi Epsilon (Certificate of Merit), the Kennedy Center Friedheim Awards (for piano concerto), the American Guild of Organists (Composer of the Year), the American Society of Composers, Authors, and Publishers/ASCAP (annually since 1962 for performances and publications), the Santa Barbara Symphony (composer-in-residence, 1990-92), the University of Central Missouri (honorary doctorate), and many others. She is an active keyboard performer (piano, organ, harpsichord, synthesizer), and in the last few years has given concerts of her own music at Washington National Cathedral, St. Mary's Cathedral and Grace Cathedral in San Francisco, Cathedral of Our Lady of the Angels in Los Angeles, and elsewhere. Emma Lou lives in Santa Barbara, California, five minutes from the Pacific Ocean. Publications by Emma Lou Diemer

Michael Abene | Hal Leonard Michael Abene Michael Abene is a composer, arranger, keyboard player and record producer. Michael joined the Maynard Ferguson band while still a teenager and was responsible for writing some of the most-requested arrangements, such as "Green Dolphin Street," "Airegin," "Fox Hunt," "Chicago," "Whisper Not," "Knarf" and "Cherokee." Michael produced the Grammy-winning projects "Digital Duke" featuring the Duke Ellington Orchestra and "The GRP All-Star Big Band-All Blues." He produced the Grammy-nominated "GRP All-Star Big Band" and "The GRP All-Star Big Band Live" and received nominations in the arranging category for all three big band records. Other projects he has produced are "The GRP Christmas Collection Volumes 1, 2 and 3" (Volume 1 was awarded a gold record for sales of 500,000 units), "Happy Anniversary, Charlie Brown," two projects for Billy Taylor, "... It's a matter of pride" and "Homage," "Maiden Voyage" for Nnenna Freelon plus projects for Billy Cobham, Eddie Daniels and Dave Valentin. Some of the other artists Michael has composed and arranged for are Take 6, Joe Lovano, Bireli Lagrene, Montreal fusion bassist Alain Caron, Dick Oatts, Dave Grusin, for which he received a 1998 Grammy nomination for the arrangement of "America" from "Dave Grusin Presents West Side Story," Chick Corea, Buddy Rich, Dizzy Gillespie, the Mel Lewis Jazz Orchestra, Liza Minnelli, Charles Aznavour, Dave Taylor, Ronnie Cuber, Diva, the Metropole Jazz Orchestra in the Netherlands and the Carnegie Hall Jazz Band. Michael has also appeared as featured pianist and arranger/composer with the UMO Jazz Orchestra in Helsinki, WDR Big Band in Cologne, Germany, the Rotterdam Conservatory Big Band (The Netherlands), Jazz Big Band Graz (Austria), Kluvers Big Band (Denmark) and the BBC Big Band in England. Michael also has produced and arranged for many singers, from pop and crossover artists Patti Austin and B.B. King, to classic jazz artists Grady Tate, Joe Williams, Chris Connor, New York Voices and Diane Schuur. Two works of Michael's were premiered during the summer of 2000: a piece he arranged for The Metropole Jazz Orchestra for seven trombones where each trombonist contributed an original and Michael composed opening and connecting sections allowing the piece to be played as a suite. This composition was performed at the International Trombone Festival in Utrecht, The Netherlands. The second composition was an original work commissioned by The Mancini Institute, where Michael has appeared as composer-in-residence, for bass trombonist Dave Taylor entitled "Heritage: New/Old and Then Some" and performed by The Mancini Institute Orchestra and Big Band. This work has also been performed by The Manhattan School of Music Studio Jazz Orchestra and in 2004 by The Amsterdam Conservatory Orchestra and Big Band. Two new compositions by Michael premiered in 2003 were "Odyssey for Brass," commissioned and performed by The Metropole Jazz Orchestra in Tilburg, The Netherlands and "Fragmentations" performed by the Slovenian Symphony and Radio Big Band. In the fall of 2003 Michael was appointed Musical Director, Principal Composer/Arranger of the WDR Radio Big Band of Cologne, Germany. Because of the response worldwide, Michael has made his compositions and arrangements available to schools and bands and serves as a clinician, and is currently working on his own 11-piece band consisting of two trumpets, french horn, tenor and bass trombone, three reeds and rhythm section. Michael joined the faculty of Manhattan School of Music in January 1998. In 2001 Michael was instrumental in creating a course entitled "Jazz Composition and Arranging for The Studio Orchestra" and in 2003, a Doctoral in Jazz program. Michael and Jim McNeely are the Music Directors of the BMI Jazz Composers Workshop. Publications by Michael Abene

Benjamin Britten Biography | Hal Leonard Distributed by Britten Home YouTube Festival Biography Choral Publications Benjamin Britten Biography Benjamin Britten was born in Lowestoft, Suffolk, on the east coast of England, on 22 November 1913. Although he was already composing vigorously as a child, he nonetheless felt the importance of some solid guidance and in 1928 turned to the composer Frank Bridge; two years later he went to the Royal College of Music in London, studying with Arthur Benjamin, Harold Samuel and John Ireland. While still a student, he wrote his "official" Op. 1, the Sinfonietta for chamber ensemble, and the Phantasy Quartet for oboe and string trio, and in 1936 he composed Our Hunting Fathers, an ambitious song-cycle for soprano and orchestra, which confirmed Britten's virtuosic vocal and instrumental technique. He was already earning his living as a composer, having joined the GPO (Post Office) Film Unit the previous year; the collaboration he began there with the poet W. H. Auden was to prove an important one throughout his career. Britten found himself in the United States at the outset of World War Two and stayed there for three more years, returning to Britain in 1942. In America he produced a number of important works, among them the orchestral Sinfonia da Requiem, the song-cycle Les Illuminations for high voice and strings, and his Violin Concerto. With the opera Paul Bunyan he also made his first essay in a genre that would be particularly important to him. Back in Britain, where as a conscientious objector he was excused military service, he began work on the piece that would establish him beyond question as the pre-eminent British composer of his generation — the opera Peter Grimes, premiered to an ecstatic reaction on 7 June 1945. The Young Person's Guide to the Orchestra: Variations and Fugue on a Theme of Purcell — a cornerstone of the orchestral repertoire — was first performed in the following year. Indeed, Britten now composed one major work after another, among them the operas The Rape of Lucretia (1946), Albert Herring (1947), Billy Budd (1951), Gloriana (1953), The Turn of the Screw (1954), Noye's Fludde (1957), A Midsummer Night's Dream (1960), Owen Wingrave (1970-71) and Death in Venice (1971-73); the Nocturne for tenor and orchestra (1958), the War Requiem (1961-62), a Cello Symphony (1963) for Rostropovich and his orchestral Suite on English Folk Tunes (1974). Britten's importance in post-War British cultural life was enhanced by his founding of the English Opera Group in 1946 and the Aldeburgh Festival two years later. His career as a composer was matched by his outstanding ability as a performer: he was both a refined pianist and a spontaneous and fluent conductor — his Mozart was particularly highly esteemed. Britten's later career was clouded by bouts of ill-health, culminating in heart disease. He never fully recovered from open-heart surgery in 1973, and died on 4 December 1976, at the age of 63, a few months after being appointed a life peer — the first composer ever to know that honour.

Licensing FAQs | Hal Leonard Licensing FAQs Distance learning and virtual adjudication usages WHAT IS THE DIFFERENCE BETWEEN PERMISSION TO MAKE PHOTOCOPIES FOR CONTEST USE AND PERMISSION TO MAKE PERMANENT PHOTOCOPIES? We understand that a certain number of copies of a score or part may be needed for judges at a festival or contest in which you or your organization is participating. If a work is not available for purchase and you are in need of copies for the judges' reference only, then you should submit your request for permission to make photocopies for contest use. The number of copies you would need in such a case is generally quite small (usually six or less) and all copies are to be destroyed after contest use. If you are seeking permission to make legal photocopies for your organization's music library or if you are seeking permission to make a significant number of photocopies (9 or more) you should submit your request for permission to make permanent photocopies. WILL THERE BE A FEE? HOW MUCH WILL IT BE? There will likely be a fee associated with processing your permission request. We are not able to give estimates or ballpark figures on fees since there are a number of different variables we take into consideration when setting our fees. All fees will be quoted in writing, as it is our policy never to give verbal permission. DO YOU EVER GRANT GRATIS PERMISSION? We receive a number of requests from charitable or non-profit organizations. In an effort to be fair and equitable in our handling of all requests, it is our general policy not to grant gratis permission. WILL HAL LEONARD PUBLISH MY WORK? Hal Leonard does not accept or review unsolicited material for publication consideration. WHAT DOES IT MEAN IF A FEE IS QUOTED ON A "MOST FAVORED NATIONS BASIS"? If we quote a fee on a most favored nations basis, it means that we would be entitled to a higher fee than what we have quoted if you have agreed to pay another party a higher fee for a similar use. WHY MIGHT MY REQUEST BE DENIED? We take a number of factors into consideration when considering your request. Permission to use a copyrighted work is never guaranteed. Your request might be denied for the following reasons: If you wish to photocopy music still available for purchase. If you wish to create an arrangement similar to an arrangement we have available for purchase. If you wish to borrow specially licensed arrangements of songs from other schools, organizations or institutions. If the publishers or songwriters have objections for any reason or if we are unable to secure the necessary approvals before your deadline. WHO HANDLES PERMISSION REQUESTS FOR APPLAUSE THEATRE & CINEMA BOOKS? Licensing requests for Applause Theatre & Cinema Books are now handled by Rowman & Littlefield Publishing Group. Please direct your request to the following address for the appropriate permission: Rowman & Littlefield Publishing Group Attn: Patricia Zline 4501 Forbes Blvd., Suite 200 Lanham, MD 20706 Fax: (301) 429-5748 Email: pzline@rowman.com https://rowman.com/Page/RightsPermissions WHAT IF I WANT TO USE A G. SCHIRMER, INC. OR ASSOCIATED MUSIC PUBLISHERS SONG? Licensing requests for G. Schirmer and Associated Music Publishers are handled directly by Music Sales Corporation. All requests should be directed to the following address: G. Schirmer Inc./Associated Music Publishers c/o Music Sales Corporation 1247 6th Street Santa Monica, CA 90401 Tel: 310-393-9900 Fax: 310-393-9925 www.musicsales.com/licensing HOW DO I OBTAIN PERMISSION TO PERFORM COPYRIGHTED COMPOSITIONS? With respect to non-dramatic public performances of copyrighted compositions, it is the venue in which you perform, such as the concert hall or night club, which must secure the necessary performance licensing. Non-dramatic musical performing rights are licensed by the following societies, on behalf of the copyright owners: ASCAP (American Society Of Composers, Authors, and Publishers) https://www.ascap.com, BMI (Broadcast Music Inc.) https://www.bmi.com, SESAC Inc. https://www.sesac.com and GMR (Global Music Rights) https://www.globalmusicrights.com/. Section 110 of the U.S. Copyright Act does allow the non-dramatic performance of musical works by schools or churches during the course of worship services or school functions, provided there is no purpose of direct or indirect commercial advantage, no compensation is paid to the performers, promoters or organizers and no admission is charged for the performance. If admission is charged, all proceeds must be used only for educational or charitable purposes. The musical arrangements that Hal Leonard produces of songs that originated in film or Broadway shows may only be presented in a non-dramatic, concert setting and not in any way as dramatizations of the film or musical itself. If you desire to stage a performance of a dramatic nature (e.g., acting out a scene or scenes from a movie or musical) you must obtain the prior consent of the copyright owner. Any unauthorized dramatizations of a song will subject the user to penalties provided by copyright law. HOW CAN I TELL IF A WORK IS STILL PROTECTED BY COPYRIGHT? In the United States, works created after January 1, 1978 will be protected for the life of the last living composer (author) plus 70 years. Copyrights existing prior to that date will continue for 95 years from the date copyright was originally secured. HOW CAN I IDENTIFY THE COPYRIGHT OWNER? The copyright owner of a work can be determined by looking at the copyright notice which is generally found at the bottom of the first page of music. If you are unable to determine the copyright owner by looking at the music, please check the searchable databases of the performance rights societies (ASCAP https://www.ascap.com, BMI https://www.bmi.com, SESAC, Inc. https://www.sesac.com or GMR https://www.globalmusicrights.com/). WHAT IF I NEED ADDITIONAL INFORMATION ABOUT COPYRIGHT LAW? Following are some links with helpful information about copyright law: U.S. Copyright Office Home Page - https://www.copyright.gov National Music Publishers' Association - http://nmpa.org Music Publishers' Association of the United States - https://www.mpa.org ASCAP (The American Society of Composers, Authors and Publishers) - https://www.ascap.com BMI (Broadcast Music, Inc.) - https://www.bmi.com SESAC, Inc. - https://www.sesac.com GMR (Global Music Rights) https://www.globalmusicrights.com/ Christian Copyright Licensing, Inc. - https://www.ccli.com

About Us | Hal Leonard Hal Leonard Corporate History In the late 1930s in Winona, Minnesota, the late Harold "Hal" Edstrom, his brother Everett "Leonard" Edstrom and their friend Roger Busdicker had formed a very popular dance band. Concerned that their conservative father wouldn't approve of using the family name for a band, Harold and Ev took parts of their names and called the band Hal Leonard. As leader of the Hal Leonard Band, Ev eventually became known as "Hal Leonard." The company Hal Leonard was founded in 1947, after the Hal Leonard Band broke up. At the time, Ev started a music store using the Hal Leonard name while Roger and Harold were both directing award-winning high school bands in Winona. In those days, most school bands played serious classical literature, but Harold and Roger had the unique ability because of their professional experience to arrange popular music for school bands. Soon band directors across the US wanted their arrangements. They started to mimeograph copies and sell them. They realized that to successfully (and legally!) launch a new publishing company, they needed to license songs, so they ventured to New York's Tin Pan Alley in search of copyrights. What they got on their trip was an education in publishing and the rights to "I Wonder Who's Kissing Her Now," one of the most popular songs of the day. Eventually, many music publishers in New York were licensing Hal Leonard to do school band arrangements of their songs. Thus began their publishing business and an entirely new industry. Hal Leonard continued to grow and expand into other areas, including instructional materials and repertoire for every instrument, voice, and ensemble. In 1970, Keith Mardak and associates started a new division of Hal Leonard called Learning Unlimited to create the first book/audio music instructional products. This division soon outgrew the company, and Mardak was named general manager for all of Hal Leonard. In 1985, an internal management team led by Mardak purchased Hal Leonard from its original founders. A new corporate headquarters was opened in Milwaukee, WI, in addition to expanding the Winona facilities to handle the company's dramatic growth. Under Mardak's leadership, Hal Leonard dramatically increased its publishing output and pursued a series of acquisitions, leading to an unprecedented period of expansion for the company. Today, Hal Leonard is the world's largest print music publisher, with the #1 methods for learning guitar, piano, band, orchestra, plus publications for learning virtually every instrument imaginable. In addition, they distribute other esteemed publishers including Berklee Press, Boosey & Hawkes, DeHaske Publications, Faber Piano Adventures, G. Henle Verlag, Robert King, Peermusic Classical, G. Schirmer, Schott, Willis, and many more. See all of our publishing partners here. In addition to still being the leader in printed music publications, Hal Leonard has also led the way in digital music technology. Hal Leonard developed SheetMusicDirect.com in 1997 (four years BEFORE iTunes!) with thousands of songs arranged for different instruments available for download. GuitarInstructor.com followed, featuring online video guitar lessons and tab arrangements for thousands of songs. In addition, the company expanded by purchasing Noteflight.com, a music composition website, and Groove3, a website providing online training for music technology. In addition, Essential Elements Interactive was added to the Essential Elements Band and Strings methods which added a valuable online component to benefit both instructors and students. Over a half million students access EEi during the school year. Hal Leonard continued the tradition of innovation in print music with the development of MyLibrary, a cloud-based portal for their books with online content. Customers who purchase books with online audio, access the content online using the unique code inside each book. Audio can be streamed or downloaded and includes PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right. In 2020, Hal Leonard launched their own proprietary streaming e-book format: Hal Leonard Digital Books. These interactive, cloud-based publications were designed especially for musicians and include access to embedded video or audio on many titles. Hal Leonard launched Essential Elements Music Class in 2019 to provide a cloud-based, online resource for general music education complete with songs, lesson resources, ukulele and recorder lesson plans, and many more resources for the music educator. In its catalog of more than one million available titles, Hal Leonard represents many of the world's best known and most respected publishers, artists, songwriters, arrangers and musical instrument manufacturers. Its products are sold in more than 65 countries throughout the world through Hal Leonard offices and a large network of distributors. Hal Leonard operates out of two main facilities - its corporate headquarters in Milwaukee, Wisconsin and a state-of-the-art administration, production and distribution facility in Winona, Minnesota. The company also has offices abroad in Australia, Belgium, China, Germany, the Netherlands, India, Italy, France, and the United Kingdom in London and Bury St. Edmunds. The hundreds of Hal Leonard employees around the world remain dedicated to providing the very best in music products and services to bring the joy of making music to everyone!

Showkit™ - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS What Comes With the Showkit® ? Every Broadway Junior musical comes with a ShowKit® of helpful materials and resources, all of which are for you and your students to keep. The ShowKit® is the best theatre educational tool in the country, so even if this is your first musical, with the ShowKit® you're sure to succeed! The ShowKit® includes*: Director's Guide Tips and suggestions on casting, rehearsals, directing, choreography, costumes, sets, props, lighting and more Curriculum Connections featuring educational activities and lesson plans tied to the show 30 Actor Scripts 30 customizable scripts for all you Broadway Junior stars to keep! Guide Vocals and Accompaniment Tracks Now digitally delivered! Professionally produced with a full orchestra of live musicians Great keys for young singers Guide-vocal tracks allow students to "sing-along" - learning the music is easy and fun Fully orchestrated accompaniment-only tracks, excellent for live performances, good tempos, and easy-to-follow cues Piano/Vocal Score Complete scores for the director and rehearsal/performance pianist Complete piano/vocal score with script cues Transposed into age-appropriate keys Easy-to-read format Choreography Videos Now streamed on mtishows.com so you can share the link with your entire cast! Instructional choreographic videos with renowned choreographers 30 Family Matters Books Guides parents through the theatrical process Provides positive ways parents can help the success of the show without stepping on teacher's/director's toes Great to send home with every student Media and Downloadable Resources Includes helpful files, audition sides, and editable forms Digital Delivery Update You'll now receive digital access to many of the ShowKit® components you know and love. Look forward to easily distributing these crucial components to your cast and creative team: Performance Accompaniment Tracks and Guide Vocal Tracks (Formerly Accompaniment CD & Rehearsal CD, respectively) will now be delivered together as a digital download and easily shared with your entire team, cast, and crew. Choreography Videos (formerly the Choreography DVD) will be available to stream directly from mtishows.com. Now not only your choreographer but the entire cast will have access to fantastic step-by-step instruction for every Broadway Junior title! Downloadable Resources (formerly the Resources (or Media) Disc), including Audition Materials, a customizable press release, program and other helpful templates, and more can all be accessed with a click of a button. *Please note: In addition to digitally delivered materials, some ShowKit®'s will still include hardcopies while supplies last.

Frequently Asked Questions - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Frequently Asked Questions about Broadway Junior Musicals How long can we perform this show? Your Performance License is good for 12 months. You can keep all the materials after the 12 month period, but the materials are not reusable. Can I perform the same show the next year and just purchase the rights since I already have the materials? You will need to purchase a new kit and sign a new performance license if you would like to perform the show again at another time. The materials are not re-useable, refundable or transferable. Can I videotape the performance? The shows that can be videotaped with the purchase of a Video License at $75 include: Disney's 101 Dalmatians KIDS Disney's Aladdin JR. Disney's Aladdin KIDS Disney's Alice In Wonderland JR. Annie JR. Annie KIDS Disney's The Aristocats KIDS Disney's Beauty and the Beast JR. The Big One-Oh! JR. Dear Edwina JR. Magic Tree House: Dinosaurs before Dark KIDS Dot and The Kangaroo JR. Elf The Musical JR. Fame JR. Disney's Finding Nemo JR. Disney's Finding Nemo KIDS The Musical Adventures of Flat Stanley JR. Disney's Frozen JR. Disney's Frozen KIDS Guys and Dolls JR. Disney's High School Musical JR. Honk! JR. Roald Dahl's James and the Giant Peach JR. Disney's The Jungle Book KIDS Magic Tree House: The Knight at Dawn KIDS Disney's The Lion King JR. Disney's The Lion King KIDS Disney's The Little Mermaid JR. Madagascar - A Musical Adventure JR. Mary Poppins JR. Disney's Moana JR. Disney's My Son Pinocchio JR. Disney's Newsies JR. Peter Pan JR. Magic Tree House: Pirates Past Noon KIDS Seussical JR. Seussical KIDS Shrek The Musical JR. Singin' in the Rain JR. Disney's Winnie the Pooh KIDS Main restrictions: video recordings are for cast/crew/families only, can't be sold and can't be broadcast in any way including on the Internet. The remaining shows do not allow videotaping. Parents cannot tape, even just for their own personal in-home use. It has nothing to do with how the tape would be used, not being sold, etc. It all comes down to legal copyright rights. Here is how Music Theatre International explains it: Unfortunately, the rights to videotape are not available. Copyright law gives authors the exclusive right to control the reproduction of their work. When a license is granted for a live stage production of a show, that license does not include the right to tape it because the authors retain the sole right to decide when or if their work is recorded in any way. Even a videotape made for classroom use, as a personal memento or as an archival school record violates the authors' separate right to reproduce their work. In most cases, the authors have already granted such rights exclusively to film or television companies, in which case videotaping this show would also be infringing upon the rights granted by the authors to a third party. Can I post a video of our performance on YouTube? There is no broadcasting of the show in any way, even if you've signed a video license. The license specifically restricts the right to broadcast your performance on YouTube, any school channel, etc. I have a few students who were in the 9th grade last year and are going into the 10th grade, can I still allow them to perform in the show? No. All performers are required to be in the 9th grade or under when the show is performed. Can I perform only certain musical numbers from the show? No. The show must be performed exactly as it has been provided to you in the ShowKit™ materials and you cannot delete, alter or make changes of any kind in the text of the play, the musical numbers, characters or characterizations. I have a question that's not listed. How do I contact a person? Please email other questions to broadwayjunior@halleonard.com or call us at 800-554-0626.

Curtains - Young @ Part | Hal Leonard Menu LEARN MORE About Young @ Part Showbox/Added Resources Order a Perusal Pack Online License Request 60-Min.ute Musicals [Young@Part] 60-Minute Musicals Addams Family All Shook Up Curtains Monty Python's Spamalot We Will Rock You Wind In The Willows 30-Min.ute Musicals [Younger@Part] 30-Minute Musicals Addams Family All Shook Up How I Became A Pirate Miss Nelson Is Missing Product Information Musical Numbers Cast of Characters Credits Book and Additional Lyrics: Rupert Holmes Music and Additional Lyrics: John Kander Lyrics: Fred Ebb Original Book and Concept: Peter Stone Overview / Synopsis It's the brassy, bright, and promising year of 1959. Boston's Colonial Theatre is host to the opening night performance of a new musical. When the leading lady mysteriously dies on stage the entire cast & crew are suspects. Enter a local detective, who just happens to be a musical theatre fan! Packed with glorious tunes and a witty, charming script filled with delightful characters, CURTAINS Young@Part® is a hilarious journey for both performers and the audience. Print Perusal - HL00237281 $19.95 ShowBox - HL00237276 $675.00 This ShowBox includes: 30 Cast Script/Vocal Books Director's Script 2 Piano/Vocal Scores Guide Vocals CD Performance Tracks CD Logo Pack CD Young @ Part Request Individual Components 00251192 - Director's Script $50.00 00251193 - Cast Script/Vocal Book $10.00 00251201 - Piano/Vocal Score $40.00 00251202 - Guide Vocals CD $50.00 00251203 - Performance Tracks CD $100.00 Hear A Sample Wide Open Spaces What Kind of Man? Show People In the Same Boat Thataway! He Did It Kansasland A Tough Act to Follow Transition to Stage A Tough Act (Finale) Lieutenant Frank Cioffi Sweetly endearing local Boston detective who idolizes the world of musical theatre and has reveled in the thrill of performing in community theatre. Called upon to solve the murder of the star of "Robbin' Hood" (a musical intended for Broadway that is currently out of town in Boston), Cioffi is very good at his job and, lamentably, married to his work. He is instantly smitten with ingénue Niki Harris. The undisputed central character of the musical. Requires deft and charming comedy, good singing, solid dancing in one extended "Fred and Ginger" number. Gender: Male Vocal Range: Ab3-G5 Niki Harris Pretty, almost too innocent ingénue, a local performer in a small role hoping "Robbin' Hood" will be the Boston production that at last takes her to Broadway. Love interest for Lieutenant Cioffi, apparently reciprocated. Requires a legit soprano and strong dancing in an extended "Fred and Ginger" number. Gender: Female Vocal Range: C4-E5 Georgia Hendricks Female half of our show-within-a-show's songwriting team on the lyric-writing side. Ends up taking on the leading lady role. Must sing and dance extremely well. Gender: Female Vocal Range: G3-E5 Carmen Bernstein Brash and brassy Broadway producer. Terrific comedic actress with a belt. Gender: Female Vocal Range: Bb3-E5 Aaron Fox The composer of the show-within-the-show. His songwriting partner, Georgia, is also his wife, from whom he's separated but for whom he still pines. He's a handsome, intense, somewhat tortured artist-type. Requires a strong vocalist with comedy. Gender: Male Vocal Range: Bb3-E5 Christopher Belling English director. Very camp. Very droll. Noel Coward meets Addison DeWitt meets Clifton Webb. Requires a superb comic actor. Gender: May be cast male or female Vocal Range: B3-E5 Bambi "Bernét" Performer in the chorus, daughter of Carmen, step-daughter of Sidney. Genuinely brassy and artificially blonde. Hungry to work her way out of the chorus; many think she was only hired because of her mother. She surprises everyone, however, when she shows genuine dancing and singing talent when at last called upon. Requires great dancing, strong "street-smart dumb blonde" comedy, and singing. Gender: Female Vocal Range: C4-E5 Oscar Shapiro From the garment district and sole investor in "Robbin' Hood." A likeably gruff man who knows nothing about theatre and frets over every dime of his that's spent. Requires good "rough around the edges" comedy and singing. Gender: Male Vocal Range: Bb3-E5 Bobby Pepper The Gene Kelly of "Robbin' Hood," its choreographer and male star, and a handsome rival to Aaron for Georgia's affection. Requires strong dancing, singing, comedy. Gender: Male Vocal Range: A3-E5 Johnny Harmon Stage Manager of the show-within-the-show, and both drill sergeant and mother hen to the cast. Barks orders but has a pleasant side as well, he keeps the company in line and on their toes throughout the rehearsal process. Comic actor who can sing. Gender: May be cast male or female (using the name Jenny Harmon) Vocal Range: E4-Eb5 Jessica Crenshaw Faded Hollywood star, a grand diva with no right to be one, and a plague to the show-with-the-show and to her cast. An absolutely dreadful singer and inept actress who stars in the show-within-a-show and gets murdered on its opening night in Boston. Must be skillful enough to sing hilariously out-of-tune and ineptly, and adroit enough to dance perfectly out of step with the rest of the cast. Appears only in the first minutes of the musical; on Broadway, this performer then adopted a different look and became part of the ensemble. Gender: Female Vocal Range: G4-D5 Randy Dexter A member of the singing & dancing ensemble featured in "Kansasland," pleasant but with a sensitive side. Gender: Male Vocal Range: A3-E5 Harv Fremont A member of the singing & dancing ensemble who bears a bouquet. Gender: Male Vocal Range: A3-E5 Ensemble

Godspell Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Conceived and Originally Directed by John-Michael Tebelak Music and New Lyrics by Stephen Schwartz Originally Produced on the New York Stage by Edgar Lansbury, Stuart Duncan and Joseph Beruh Overview / Synopsis Godspell JR.* is the young performer's edition of John-Michael Tebelak and Stephen Schwartz's groundbreaking and unique reflection on the life of Jesus, with a message of kindness, tolerance and love. Godspell is an engaging, innovative show that draws from various theatrical traditions, including clowning, pantomime, charades, acrobatics and vaudeville. Originally conceived for a cast of ten, the Broadway Junior version of Godspell is designed to allow you to expand your cast to include as many student performers as your stage can accommodate. Each of the parables and songs used in Godspell can be cast with a different group of students and can be rehearsed separately, allowing groups to rehearse simultaneously. If you choose to add the optional Godspell JR. Choir, you can use nearly everyone from your school or group who wishes to participate. Godspell can be performed virtually anywhere with the simplest of sets, costumes, lights and music. This show will be a favorite of performers and audiences alike! The Broadway Junior Collection now offers this John-Michael Tebelak story and Stephen Schwartz score in an adapted format perfect for young performers! Audio Sampler - HL00103055 $10.00 ShowKit - HL09971784 $695.00 This ShowKit includes: 30 Actor's Scripts Piano/Vocal Score Director's Guide 2 Performance/Accompaniment CDs Choreography DVD Media Disc 30 Family Matters Booklets 60-Minute JR. Request * Godspell JR. is not available in Canada Individual Components 09971786 - Piano/Vocal Score $40.00 09971785 - Director's Guide $100.00 09971787 - Actor's Script $10.00 09971788 - Actor's Script 10 Pak $75.00 09971789 - Performance/Accompaniment CD $75.00 09971790 - Choreography DVD $50.00 09971676 - Student Rehearsal CD $10.00 00103054 - Student Rehearsal CD 20 Pak $100.00 09971791 - Media Disc $10.00 00103055 - Audio Sampler $10.00 Hear A Sample Act 1 Prepare Ye the Way of the Lord [John the Baptist, Company] Save the People [Jesus, Company] Day by Day [Solo, Company] Learn Your Lessons Well [Solo1, Solo 2] O, Bless the Lord, My Soul [Solo, Company] All for the Best [Jesus, Judas, Company] All Good Gifts [Solo, Company] We Beseech Thee [Solo, Company] Light of the World [Solo 1, Solo 2, Company] Act 2 Beautiful City [Female Solo] On the Willows [Orchestra] Finale [Jesus, Company] Bows [Company] Exit [Orchestra] Jesus Jesus is first and foremost a teacher. He should come off very naturalistic, not high and mighty or judgmental. He should be charismatic with being affected; serious, but with a good sense of humor; somebody who everybody likes and wants to have as a friend. While he doesn't have to sing a lot, his first song, "Save the People," should sound beautiful, clear and unaffected. John the Baptist/Judas John the Baptist/Judas is a role played by one person. It is important to note that in the original production of Godspell, the actors all used their own names and the original script did not include characters designated as "Judas" or "John the Baptist." As you cast this role, remember it is not really two different roles, just one actor embodying the actions of these two biblical figures. The character is charismatic, but also headstrong and sometimes acts in rash ways. Be daring in your casting - this role does not necessarily have to be played by a male performer. SOLO SINGERS "Day by Day" The singer who leads "Day by Day" doesn't need to have a wide range, but the song should sit in a place where they can sing it out strongly and with conviction. "Learn Your Lessons Well" The two soloists for "Learn Your Lessons Well" should be your singers who can enunciate expertly - the song is less about the melody and more about getting the words out quickly and so the audience can understand them. "O Bless the Lord, My Soul" This is a big song with several changes in tempo and tone. It requires your singer with the biggest, most dexterous voice. Even though the tempo becomes very bright during the song, don't worry if you don't cast your best dancer: letting the soloist stand and sing while the ensemble moves around them works just fine. "All Good Gifts" The slow, beautiful ballad of Godspell. Of all the songs in the show, this one demands your most beautiful voice. "We Beseech Thee" Here's one for the class clown! It can be almost spoken and still work well, as long as your performer has personality plus! "Light of the World" Another song that can almost be spoken - but remember, it's a song about making sure your light shines throughout the world - the singer has to really "sell" the song! "Beautiful City" Beautiful and sincere, the singer must be able to let the audience know that they understand the message Jesus has been teaching. FEATURED ACTORS/ACTRESSES Narrators Most of the parables have a narrator or two. Your narrators should be among your best speakers. You should be confident that they can handle longer sections of dialogue. Players Some of the players have lines and some do not. All players should be encouraged to develop larger than life characters.

Band, Jazz, & Orchestra

Search Results for: “still”

Loading...

Results:
11 Products

Band, Jazz, & Orchestra

Search Results for: “still”

Loading...

Results: 11 Products

Items Per Page

View

Sort

Band Level

Arrangers

Artists

Composers

Series/Notation Style

Style

Results:
11 Products