Medium Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.1115654 Composed by George Beverly Shea and Rhea F. Miller. Arranged by David Neff. 20th Century,Praise & Worship,Religious,Sacred. 6 pages. David Neff #717425. Published by David Neff (A0.1115654). Here’s a fresh medium-voice arrangement of the classic gospel song written by bass-baritone George Beverly Shea. It is appropriate for any setting where sacred music is welcomed. This arrangement is also available on this site for high voice. Shea wrote the tune for “I’d Rather Have Jesus� at age 23. He’d been offered a well-paying job as a singer on NBC’s Your Hit Parade, and he was struggling with whether to choose a secular singing career or to stick with singing in churches and on Christian radio. He turned down the job offer, stuck with sacred music, and eventually took a role as the main vocalist with the Billy Graham Evangelistic Crusades. “I’d Rather Have Jesus� became his signature tune. It was featured on his first release from RCA records, and because of his role with Billy Graham, it is thought that he sang live before more people than anyone else in history.

Medium voice and piano - Moderately Difficult - Digital Download SKU: MQ.7703-1E Composed by John David Earnest. Secular, 21st century. 5 pages. E. C. Schirmer Music Company - Digital #7703-1E. Published by E. C. Schirmer Music Company - Digital (MQ.7703-1E). Conceived over lunch at the Oak Room in the famed Algonquin Hotel in New York City, Songs of Sophistication is an homage by poet Robert Bode and composer John David Earnest to the wit and verbal swordplay of the members of the “Algonquin Round Table� of the 1920s. Such literary luminaries as Dorothy Parker, Robert Benchley, George S. Kaufman, Robert E. Sherwood, Alexander Woollcott, and Harold Ross met for lunch daily at the Algonquin to discuss the affairs of the day and to trade delicious bon mots. The five songs in this set explore such sophisticated topics as travel, food, love, language, and the true nature of genius, subjects that surely would have been discussed, dissected, satirized, and parodied by the brilliant circle of friends at the Round Table.

Medium Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.829042 Composed by David Neff, Traditional. Arranged by David Neff. Folk,Spiritual. 4 pages. David Neff #5866099. Published by David Neff (A0.829042). No More Auction Block originated in Canada before the US Civil War among African-Americans who had escaped slavery and found safe haven there. It was later adopted by black troops in the Union Army. It is a song of determination and hope, although its positive message is tempered by the wistful line that closes each verse--many thousand gone. Those many thousand were not only the many who had escaped slavery, but also those who had been separated from family and loved ones by being sold on the auction block. This arrangement was written for Larry D. Hylton, a tenor who sang with Moses Hogan and with the Metropolitan Opera Chorus, and who has been in over 350 performances of Porgy and Bess. David Neff and Larry Hylton collaborated on recording this remotely during the 2020 pandemic in order to produce music for their church's celebration of Juneteenth, following the widespread protests over the murder of George Floyd. The song is appropriate for any occasion that celebrates African-American history and music, as well as the ideals of freedom and liberty. 

Medium-Low Voice,Vocal Solo - Level 4 - Digital Download SKU: A0.534413 Composed by Jacques Leguerney. 20th Century,Concert,Standards. 38 pages. Musik Fabrik Music Publishing #3478897. Published by Musik Fabrik Music Publishing (A0.534413). 1. Plaintes d'Orphée2. Ã?pigramme à un mauvais payeur3. à Chloris4. D'une maigre dame5. Dans le fôret6. Secret Amour 7. Complients à une duègnehttps://www.youtube.com/watch?v=Uo7KQ89pzz4Gérard Souzay, French baritone, said of Jacques Leguerneyâ??s music: â??How does one describe this music which is, at the same time, classic and modern? It is pure, but colorfully nuanced; it speaks to the heart as well as the mind: at times calm; at times witty; wise, yet sensual. The music of Jacques Leguerney is un jardin à la française, both elegant and stylish.â?� Jacques Leguerney was born in Le Havre on 19 November 1906. His uncle bought his first piano and encouraged him to study and write music. He wrote chamber works, and took a few semesters of harmony with Nadia Boulanger, who arranged for a performance of his Epitaphe guerrière and Clair de lune in a concert organized by the Société musical indépendante at the Salle Pleyel. However, he decided not to continue his studies. He felt that his gift was natural and spontaneous, and that anyone who understood music should not have to do exercises to learn to compose. In 1928, Jane Bathori took an interest in Leguerney, including two songs during her tour in Argentina, and the following year at the Salle Erard in Paris. In 1932, when his father died, Leguerney took over the family business and stopped composing until the outbreak of World War II. The period extending from the German occupation of France to the end of the 1940s constitutes one of the important periods of Leguerneyâ??s musical life. He began his extended song cycle, Poèmes de la Pléiade, and wrote many songs upon poems of Paul-Jean Toulet. He also continued to compose chamber music, including the Sonatine pour violon et piano, the â??Fantasie pour pianoâ?� and the Quatuor à cordes en Ré. An important year for Leguerney was 1943. He met musical colleagues who would become his major interpreters. These included Gérard Souzay as well as his half-sister, soprano Geneviève Touraine; pianist Jacqueline Robin (Bonneau), Pierre Bernac, and Francis Poulenc. Robin (Bonneau) particularly influenced Leguerneyâ??s style. His piano accompaniments were created specifically for her virtuosic and sensitive style of pianism. Bernac observed that Leguerney wrote melodies de pianiste. In 1946, Leguerney created a ballet on the mythological story of Endymion. The premiere was at the Opéra de Paris on 27 July 1949, with choreography by Serge Lifar. The Opéra de Paris immediately commissioned a second work, which was La Vénus noire, based upon a short story by Prosper Mérimée. This ballet was never produced, due to disagreements with the choreographer. Leguerney became discouraged and this situation was to lead to the end of his interest in composing. However, the years 1950-1954 brought Leguerney widespread recognition as he created his beautiful mélodie cycles including La Nuit, La Solitude (for piano as well as an orchestration), Le Paysage, and Le Carnaval, as well as the cantata Psaume LXII de David. Gérard Souzay requested many new works for his recitals and premiered La Nuit, Le Carnaval and