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In Spite of My Sin
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In Spite of My Sin
Chorale SATB
Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.903678 Composed by Glenn C…
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Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.903678 Composed by Glenn Calcote. Christian,Gospel,Sacred,Spiritual. Octavo. 1 pages. Glenn Calcote #6496119. Published by Glenn Calcote (A0.903678). A short, accapella, SATB worship chorus for the church choir. This chorus reminds us that in spite of our sinful nature, God still loves us.
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Chorale SATB
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Glenn Calcote
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In Spite of My Sin
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Glenn Calcote
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SheetMusicPlus
Carson Cooman: The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audie
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533578 Composed by Carson Co…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.533578 Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Musik Fabrik Music Publishing #3025409. Published by Musik Fabrik Music Publishing (A0.533578). The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audience, and chamber orchestra (piano, organ, strings-suggested minimum of 3.3.3.2.1),was commissioned by The Memorial Church at Harvard University. It is dedicated to Edward Elwyn Jones and theHarvard University Choir.The biblical books of Luke and Acts form a pair of documents from a single author and with a single audience (thelikely-metaphorical “Theophilusâ€), yet they are unusual for being composed in such contrasting genres. Luke’sgospel, using Mark as a primary source throughout, features a comparable literary style to that of the otherevangelists. Acts, by contrast, is a historical monograph that charts the birth of the Church with dramatic storiesabout—and speeches from—the apostles, painting a vivid, if not necessarily chronological, picture of their victoriesand struggles. As such, it is a book that provides excellent source material for a dramatic choral libretto of this scale.Although much of Acts is focused on the ministry of Saul/Paul, this oratorio draws most of its material from thefirst third of the book, prior to and including the conversion of Saul. In the Prologue, Christ’s ascension is narratedand—following an orchestral Sinfonia—the chorus sings words of Jesus from the Sermon on the Plain in Luke’sgospel that foreshadow many of the trials the apostles go on to face. The astounding account of Pentecost follows:here, words from the book of Ruth, customarily read on the feast of Shavuot (Pentecost), are included, telling thestory of a Moabite woman who converted to the Israelite faith—a parallel to the expansion of the Christian messageto all nations by the gift of the Holy Spirit. The Prayer for Boldness, quoting Psalm 2, asks God for protection fromthe threats of persecution that the apostles will now face.Stephen, regarded as the proto-martyr of the Christian Church, offers one of the most developed speeches in Acts,only a small portion of which is presented here. Full of scriptural references, including the quotation from Isaiah“Heaven is my throne…â€, the end of the narrative is remarkable for two reasons: firstly, Stephen’s final wordsmirror those of Christ on the cross in Luke’s gospel—where Jesus forgives his executioners and prays “Father, intoyour hands I commend my spirit†(Luke 23:46); secondly, Saul is specifically mentioned as one who approved ofStephen’s stoning, indicative of the redemptive possibilities of the Christian message.The account of the baptism of the Ethiopian eunuch here in the oratorio ends with the First Song of Isaiah—whilenot quoted in Acts, it seems a fitting conclusion to the scene as Philip and the eunuch were reading Isaiah together,and the canticle has often been associated by Christians with the rite of baptism. Similarly, the story of Saul’sConversion is followed here by a Christological poem found in Paul’s letter to the Philippians, though it is likely aquotation from an earlier source. It is often regarded as the earliest extant Christian hymn.The Acts of the Apostles concludes with Luke’s realistic assessment that in spite of Paul’s energetic evangelism manyremained unconvinced by the Christian message. At the heart of both Luke’s gospel and Acts is the tension betweenthe uniquely important role of the Jewish traditions that Jesus himself practiced and the expansion of the gospel togentiles, of whom Luke himself is one. It is appropriate, therefore, to follow Paul’s message of salvation to thegentiles with the Magnificat: a canticle that emphasizes the promises of God to the people of Israel throughouthistory.Three traditional hymn texts are found in the oratorio, each set congregationally to a pre-existing tune. The first,“Spirit of mercy, truth, and love†is an eighteenth century poem that e.
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Orchestre de chambre
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Carson Cooman
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Carson Cooman: The Acts of the Apostles
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Musik Fabrik Music Publishing
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SheetMusicPlus
In Spite Of Ourselves
Guitare notes et tablatures
Guitar,Voice - Level 3 - Digital Download SKU: A0.898484 By John Prine. By John Pri…
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Guitar,Voice - Level 3 - Digital Download SKU: A0.898484 By John Prine. By John Prine. Arranged by Alec Ogston. Country,Folk. Guitar Tab with Voice. 11 pages. Alec Ogston #504786. Published by Alec Ogston (A0.898484). For guitar and two voices, as originally performed by John Prine and Iris DeMent. The guitar part is written in both tablature and traditional notation, to be played using Travis picking or alternating-thumb style. Chord symbols are also written for musicians who prefer to strum or play other instruments. In Spite of Ourselves is one of my favorite songs to play and sing with friends. I’ve written exact notes and rhythm, but once you get the hang of it, it’s easy to have fun with. Enjoy!
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Guitare notes et tablatures
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John Prine
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Alec Ogston
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In Spite Of Ourselves
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Alec Ogston
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SheetMusicPlus
How Can I Keep From Singing? - F horn, piano
Cor et Piano
French Horn,Piano - Level 3 - Digital Download SKU: A0.726080 Composed by Robert Lo…
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French Horn,Piano - Level 3 - Digital Download SKU: A0.726080 Composed by Robert Lowry (1826-1899). Arranged by Todd Marchand. Christian,Gospel,Sacred. Score and part. 6 pages. Con Spirito Music #3546595. Published by Con Spirito Music (A0.726080). How Can I Keep From Singing? is, perhaps, the second most well-known gospel hymn authored by Robert Lowry (1826-1899) - the first being Shall We Gather at the River?Born in Philadelphia and later a Baptist minister who served in churches in Pennsylvania, New York, and New Jersey, Lowry is best remembered as a writer of more than 500 gospel songs and hymns, and as editor of numerous gospel song books and hymn books.How Can I Keep From Singing? (also known as Endless Song) expresses confidence in the eternal promises of Christ in spite of temporal circumstances. Its first verse and refrain proclaim:My life flows on in endless song above earth’s lamentation; I catch the sweet, though far-off hymn, that hails a new creation. (Refrain): No storm can shake my inmost calm while to that Rock I’m clinging; since Christ is Lord of heaven and earth, how can I keep from singing?©2018 Todd Marchand / ConSpiritoMusic.com
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Cor et Piano
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Robert Lowry
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Todd Marchand
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How Can I Keep From Singing? - F horn, piano
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Con Spirito Music
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SheetMusicPlus
Federico Moreno Torroba: Castles of Spain & Puertas de Madrid For Low G Ukulele
Ukulele
Ukulele - Level 3 - Digital Download SKU: A0.1127367 By Michael P Walker. By Federi…
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Ukulele - Level 3 - Digital Download SKU: A0.1127367 By Michael P Walker. By Federico Moreno Torroba. Arranged by Michael P Walker. Classical,Romantic Period. Score. 53 pages. Michael P Walker #727996. Published by Michael P Walker (A0.1127367). Who would have thought you could play classical music on a ukulele? But you can! Here are compositions from the 20th Century by Federico Moreno Torrobo transcribed for Low G Ukulele. These pieces are composed for the intermediate to advanced level and are designed to improve your skills as a performer as well as being a welcome addition to the repertoire for this instrument. Moreno Torroba composed on the piano and organ and was not a guitarist but, According to his friend, Andres Segovia, “In spite of his scant knowledge of the guitar’s complex technique, he approached it accurately by sheer instinct and, to my joy, the work remained in the repertoire.†Besides composing guitar works, Moreno Torroba was also prolific as an opera and ballet composer. In particular, he was an advocate of the light Spanish opera form known as Zarzuela.
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Ukulele
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Michael P Walker
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Michael P Walker
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Federico Moreno Torroba: Castles of Spain & Puertas de Madrid For Low G Ukulele
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Michael P Walker
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SheetMusicPlus
End Of The Line
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.1041003 By Isadar. By Isadar. Class…
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Piano Solo - Level 2 - Digital Download SKU: A0.1041003 By Isadar. By Isadar. Classical,Contemporary,Jazz,New Age. Score. 9 pages. Mainya Music Publishing (BMI) #645734. Published by Mainya Music Publishing (BMI) (A0.1041003). Contains:End Of The Line - taken from the Isadar solo piano collection, The Journey (available soon on SheetMusicDirect and SheetMusicPlus) Sounds like: Liz Story, George Winston, early Windham Hill solo piano artists Transcribed by: David Shenton ( https://www.shentonmusic.com/ ) verbatim to the sound recording Album & Songbook review by:Kathy Parsons (MainlyPiano.com): Isadar’s fourth solo piano album is a blend of smooth jazz and new age, showing both his impressive technique and sensitivity to melody. Several of the eight selections are free-form and improvisational, revealing some of Liz Story’s influence on his music. Some of Isadar’s earlier recordings have very dark, moody sections, but this one stays fairly upbeat and optimistic without being ear candy. The music is complex enough to sink your teeth into, and yet is accessible enough to enjoy as a backdrop to a quiet dinner or an evening with a good book. Joyful Running begins the journey with an exuberant and uplifting piece that reminds me a little of some of Spencer Brewer’s bouncier compositions. Fountain of Life is a beautiful piece with a water-like flow that never stops in its 10 1/2 minutes. I listened to this CD several times without realizing that this song was that long. It flows and meanders so effortlessly that it seemed no longer than the other seven selections, most of which are between four and five minutes in length. Unstructured and free, this is one of my favorite tracks. I also really like the title track, which is even more abstract and unstructured. The tone is of searching and moving forward. End of the Line is my favorite on this album. Very introspective and contemplative, this seems to be a very personal piece. It is the most somber track, but one still senses hope despite the ending of something dear and important. Or maybe it’s simply the end of the journey and the dread of returning to real life - I feel this way on the last day of my vacations! It is a wonderful and moving closing to an excellent album. The companion songbook is expertly transcribed and engraved by David Shenton of New York Music Publishing. The layout of the music is clear and uncluttered, and the notation includes pedal markings and dynamics that allow the pianist to express the music as closely as possible to how Isadar played it on the recording. A few of the pieces are quite long and require a more advanced pianist who is able to express the nuances that keep the recording so interesting, but several of the pieces are well within the capabilities of upper intermediate players. Some of the rhythms are a little bit tricky, but the majority of the left hand parts are running eighth notes, which make it easier. None of the key signatures are difficult, and none of the chords have a reach of more than an octave, making this music very playable for smaller hands. My favorite pieces to play in this book are Joyful Running, Voice of God (Thanksgiving), Smoke Signals, and End of the Line. Isadar is an artist on both Enlightened Piano Radio & Whisperings Solo Piano Radio, the latter featuring some of today's biggest names in solo piano music, including Ludovico Einaudi, David Nevue, Brian Crain, Kevin Kern, Robin Spielberg, Michele McLaughlin, Philip Wesley and over 300 more... Also available as sheet music in physical songbooks, digital downloads, as as software for Yamaha Disklavier player-pianos. For more information, visit his website at: https://www.isadar.com.
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Piano seul
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Isadar
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End Of The Line
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Mainya Music Publishing
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SheetMusicPlus
Come Thou Fount of Every Blessing
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1255518 By Jeff Bjorck. By John Wye…
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Piano Solo - Level 3 - Digital Download SKU: A0.1255518 By Jeff Bjorck. By John Wyeth. Arranged by Jeff Bjorck. 19th Century,Christian,Religious,Sacred,Traditional. Score. 7 pages. Pure Piano Music by Jeff Bjorck #849024. Published by Pure Piano Music by Jeff Bjorck (A0.1255518). Jeff Bjorck's original solo piano arrangement of this classic hymn melody by John Wyeth is from Bjorck's album/CD This I Know: Ageless Hymns of Faith. The lyrics to this hymn note how encouraging it is to raise my Ebenezer and give thanks that Thus far, the Lord has helped us. Ironically, this hymn also describes being prone to wander away from God, in spite of His love. This latter phrase from the lyrics inspires the Christian to seek an ever closer walk with God, and so Bjorck begins and ends his arrangement with the portion of the traditional melody that accompanies these poignant words.
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Piano seul
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Jeff Bjorck
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Jeff Bjorck
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Come Thou Fount of Every Blessing
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Pure Piano Music by Jeff Bjorck
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SheetMusicPlus
Fugue in Eb Major for Woodwind Quintet
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Do…
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1276672 By Fabio Henrique Dentello. By Fabio Henrique Dentello. Arranged by Fabio Henrique Dentello. Baroque,Classical,Contemporary,Romantic Period. 15 pages. Fabio Dentello #868420. Published by Fabio Dentello (A0.1276672). This piece is part of a study I was conducting. Despite being a composer for about 6 years, I have only had a brief formal study of counterpoint. I wanted to enhance my composing technique, so I began studying counterpoint on my own, aiming for a more academic approach. This fugue represents the culmination of all my studies. I completed this piece in its entirety on 31/07/2023, and I am very proud of the results I have achieved. It is a highly lyrical piece for woodwind quintet, offering numerous possibilities for interpretations, and yet, it is easy to perform. It is well-suited for solo and ensemble performances, as well as other school activities involving music performance. I am delighted to be able to offer this piece at a reasonable price, and I sincerely hope you enjoy it as much as I did while writing it.
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Fabio Henrique Dentello
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Fabio Henrique Dentello
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Fugue in Eb Major for Woodwind Quintet
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Fabio Dentello
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SheetMusicPlus
How Can I Keep From Singing? ? brass quintet
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Composed by Robert Lowry (1826-1899) and Robert Lowry (1826-1899). Arranged by Todd Marcha…
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Composed by Robert Lowry (1826-1899) and Robert Lowry (1826-1899). Arranged by Todd Marchand. Christian, Gospel, Sacred. Score, Set of Parts. 9 pages. Published by Con Spirito Music (S0.180831). - Score,Set of Parts - Christian,Gospel,Sacred - Con Spirito Music
?How Can I Keep From Singing?? is, perhaps, the second most well-known gospel hymn authored by Robert Lowry (1826-1899) ? the first being ?Shall We Gather at the River?? Born in Philadelphia, Lowry studied at Pennsylvania's Lewisburg (today Bucknell) University; was ordained a Baptist minister in 1854; served in churches in Pennsylvania, New York, and New Jersey; and later returned to Lewisburg and served as chancellor. Best remembered as a writer of more than 500 gospel songs and hymns, Lowry served as editor for Biglow and Main publishing company, where he edited numerous gospel song books and hymn books. Like Horatio Spafford?s ?It Is Well With My Soul,? Lowry?s ?How Can I Keep From Singing?? (also known as ?Endless Song?) expresses confidence in the eternal promises of Christ in spite of temporal circumstances. Its first verse and refrain proclaim: "My life flows on in endless song above earth?s lamentation; I catch the sweet, though far-off hymn, that hails a new creation. (Refrain): No storm can shake my inmost calm while to that Rock I?m clinging; since Christ is Lord of heaven and earth, how can I keep from singing?" This intermediate-level arrangement is quick to rehearse, satisfying to play, and well-received by audiences. Suitable for high school ensembles, church and community musicians, and professionals for use in concert, recital, and worship. Ideal as a prelude or offertory/communion anthem. ©Copyright 2016 Todd Marchand / ConSpiritoMusic.com
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Robert Lowry
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Todd Marchand
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How Can I Keep From Singing? ? brass quintet
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Con Spirito Music
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SheetMusicPlus
The Destruction of a Twinkling Star
Violon et Piano
Piano,Violin - Level 3 - Digital Download SKU: A0.1011293 Composed by Ho Jie Rong. …
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Piano,Violin - Level 3 - Digital Download SKU: A0.1011293 Composed by Ho Jie Rong. Contemporary,Standards. 5 pages. Ho Jie Rong #5794107. Published by Ho Jie Rong (A0.1011293). I am a Singaporean pianist and composer. I have studied the piano since 5 years old under Mr Joseph Toh and I graduated from LASALLE College of the Arts with a Diploma in Music in 2013, majoring in Music Composition under Malaysian composer Mr Chong Kee Yong and Singaporean composer Mrs Joyce Koh Bee TuanAbout The Destruction of a Twinkling StarThis piece is written for Violin and Piano.Ever wondered what happen to a star when it explodes? I decided to write a short fantasia about this phenomenon. I decided to use the very famous opening of the Mozart’s Ah vous dirai-je maman Variations for this piece. A very sweet sounding opening to a devastated effect. I have decided to use a pretty unconventional notation. I think a star is full of mystery, and you always get surprises when you improvise. In my music, I like to try new things! And of course, despite new things, I will always use back my own prestige extracts from some of my works. I have used an almost similar notation in my Sky 2 for piano solo, and the last movement of the Six Improvisatory Pieces for solo piano.The interval between the highest and the lowest pitch of the Mozart’s Variations is a Major 6th. To get the intended transcription into my work, I cut the keyboard into 6 different ranges. Because the range of the violin is not as big as the piano, I cut the violin into 3 different ranges. If want will to realize, Mozart uses all 6 notes of the opening C major scale, and hence, I transcribe it into chord clusters into my work. The Destruction of a Twinkling Star is dedicated to my friends Miss Lee Xin Yee and Mr Kelvin Koh.
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Violon et Piano
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Ho Jie Rong
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The Destruction of a Twinkling Star
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Ho Jie Rong
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SheetMusicPlus
Glaube, Hoffnung, Liebe - Glaube an die Zukunft
Instruments en Do
C Instrument - Level 2 - Digital Download SKU: A0.1097054 Composed by Frank Meyer. …
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C Instrument - Level 2 - Digital Download SKU: A0.1097054 Composed by Frank Meyer. A Cappella,Christian,Praise & Worship,Religious,Spiritual. Lead Sheet / Fake Book. 1 pages. Frank Meyer #701008. Published by Frank Meyer (A0.1097054). Since the year 1984 many people meet at the end of the year in Obermarchtal at the Danube/Donau to sing and make music together. Towards the end of the year 2020 it became very clear that the Corona virus would make it impossible to meet first time since more than 35 years. When I realized that, some words an a melody came to my mind and I wrote this canon for the participants of the Neustifter Musikwoche (www.neustifter-musikwochen.de). We met in some video conferences, talked and had fun in spite of the situation. And I gave this song to the participants to sing it and record the own singing. You can hear and see the result in the youtube channel form the Neustifter Musikwochen. Faith, hope an love are the them of the song, according to 1Kor 13,13. Its intention is not to lose hope and confidence, not even in times like these. Also in 2021 we could not meet singing together in Obermarchtal. But were looking forward hopefully. Note: The edition from 2021 published her contains a few small changes compared to the recording from 2020. ...... Seit 1984 treffen sich jährlich zum Jahreswechsel musikbegeisterte Menschen aller Altersstufen im Bildungshaus Kloster Obermarchtal. direkt oberhalb der schönen Donau gelegen, um gemeinsam zu musizieren. Als gegen Ende des Jahres 2020 klar wurde, dass aufgrund der Corona-Pandemie die Musikwoche zum Jahreswechsel erstmals seit über 35 Jahren nicht würde stattfinden können, kamen mir in Anlehnung an die Worte des Paulus im ersten Korintherbrief (1Kor 13,13) die Worte und die Melodie dieses Liedes in den Sinn, und ich schrieb diesen Kanon. Statt in Obermarchtal trafen wir uns einige Tage lang immer wieder in Videokonferenzen, feierten sogar eine kleine Andacht zu Silvester. Ich schickte Noten und die Aufnahme einer Klavierbegleitung an die Teilnehmer, und einige sangen das Lied und schickten mir ihre Aufnahmen. Es entstand eine virtuelle Choraufnahme, die im Youtube-Kanal der Neustifter Musikwochen zu sehen und zu hören ist. Auch im vergangenen Jahr 2021 konnten wir uns nicht zum gemeinsamen Singen treffen. Aber wir blicken weiterhin hoffnungsvoll nach vorne, glauben an die Zukunft, an das Leben und an die Liebe. Anmerkung: Die hier veröffentlichte Notenausgabe von 2021 enthält gegenüber der Aufnahme von 2020 am Ende ein paar kleine Änderungen. Informationen zu unseren Musikwochen unter http://neustifter-musikwochen.de.
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Instruments en Do
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Frank Meyer
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Glaube, Hoffnung, Liebe - Glaube an die Zukunft
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Frank Meyer
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SheetMusicPlus
Rock of Ages
Piano seul
Piano - Digital Download SKU: A0.1068480 Composed by 1776, 1830, Music – Tho…
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Piano - Digital Download SKU: A0.1068480 Composed by 1776, 1830, Music – Thomas Hastingsm, and Words – Augustus M. Toplady. Arranged by Pat Holmberg. Christian,Contemporary,Gospel. Full Performance. Duration 122. Patricia Tanttila Holmberg #1966901. Published by Patricia Tanttila Holmberg (A0.1068480). This is an old well-known Christian hymn played on the piano. It has an updated rhythmic feel to give it a bit of life. Here are the lyrics, if you want to sing along with it: Rock of Ages cleft for me; Let me hide myself in Thee. Let the water and the blood from thy wounded side which flowed, Be of sin the double cure; Save from wrath and make me pure. Could my tears forever flow, Could my zeal no respite know, This for sin could not atone – Thou must save, and Thou along; In my hand no price I bring, Simply to Thy cross I cling. When I draw my final breath, When my eyes shall close in death. When I rise to worlds unknown And be hold Thee on Thy throne, Rock of Ages, cleft for me, Let me hide myself in Thee. BMI www.patholmberg.com.
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Piano seul
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1776, 1830, Music – Thomas Hastingsm, and Words – Augustus M
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Pat Holmberg
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Let me hide myself in Thee
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Rock of Ages
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Patricia Tanttila Holmberg
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SheetMusicPlus
Monteverdi - The Sixth Book of Madrigals (Complete)
Ensemble de cuivres
Brass Ensemble - Level 3 - Digital Download SKU: A0.767268 Composed by Claudio Mont…
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Brass Ensemble - Level 3 - Digital Download SKU: A0.767268 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. 324 pages. Lyons Music Services #3218659. Published by Lyons Music Services (A0.767268). As part of my continuing project to transcribe Monteverdi's madrigals onto winds, here is the 6th book. In this book we see a much greater development towards dramatic representation. In a way, this book is divisible into two Scenes with a number of single items in between. The vocal lines are all much more complex and we can also see the beginnings of monodic writing appear in the semi-recit sections of some of the songs. Also clearly developing are delineations of the voices into soloists and chorus. Several songs in this book are almost akin to arias, with clear soloistic writing for the higher voices (Cantus/Tenor). The first four songs form a kind of introductory 'scena', which Monteverdi calls Lamento d'Arianna. A little later, there is a set of 6 songs which he grouped together under the title Sestina. A Sestina is a complex poem made up of 6 stanzas each of 6 verses with rules regarding hoe the last line of the first verse is repeated. Obviously, we are not using the lyrics, but we need to be aware of the structure so that when the music reappears we can treat it appropriately. As with all things madrigalian, the lyrics are rife with double entendres, despite the fact that all of the lyrics deal with loss of one kind or another. Monteverdi uses some very close dissonances to describe death and release. Often with wrenching results for the harmony.Please note, there are two extra parts for No.13, which is for 7 voices. Part 6 is an Alto voice (Horn/Alto Sax/Clarinet) and part 7 is a tenor voice (Trombone/Baritone/Tenor Sax/Euphonium).
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Ensemble de cuivres
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Claudio Monteverdi
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Mike Lyons
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Monteverdi - The Sixth Book of Madrigals
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Lyons Music Services
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SheetMusicPlus
Gregory Sullivan Isaacs: The Death of Pyramus for bass buffo or baritone voice and piano
Small Ensemble - Level 4 - Digital Download SKU: A0.534549 Composed by Gregory Sull…
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Small Ensemble - Level 4 - Digital Download SKU: A0.534549 Composed by Gregory Sullivan Isaacs. Concert,Contemporary,Standards. Score and parts. 10 pages. Musik Fabrik Music Publishing #3627069. Published by Musik Fabrik Music Publishing (A0.534549). Text by William Shakespeare (A Midsummer Night's Dream Act V, Scene I)The ultimate overblown death scene for an actor of limited abilitiesIn the play, Nick Bottom thinks that he is the greatest actor alive. However, he is appallingly dreadful - he shamelessly overplays every line, mugs incessantly and makes word errors. He thinks that he is fabulous when, in fact, he is ridiculous. His suicide scene is one of the great moments for comic actors and it can take as long as the actor wishes - even up to 5 minutes. This aria is set in the same manner and many buffo singers immediately come to mind as models for such satire. This selection cannot be overplayed. It can be sung by any male voiceTEXT: Sweet Moon, I thank thee for thy sunny beams.I thank thee, Moon, for shining now so bright.For by thy gracious, golden, glittering gleams,I trust to take of truest Thisbe sight.—But stay, O spite!But mark, poor knight,What dreadful dole is here!Eyes, do you see?How can it be?O dainty duck! O dear!Thy mantle good,What, stained with blood?Approach, ye Furies fell!O Fates, come, come,Cut thread and thrum.Quail, crush, conclude, and quell!O wherefore, Nature, didst thou lions frame?Since lion vile hath here deflowered my dear,Which is—no, no—which was the fairest dameThat lived, that loved, that liked, that looked with cheer.Come, tears, confound!Out, sword, and wound!The pap of Pyramus— Ay, that left papWhere heart doth hop. (stabs himself)Thus die I, thus, thus, thus.Now am I dead.Now am I fled.My soul is in the sky.Tongue, lose thy light.Moon, take thy flight.Now die, die, die, die, die.(dies)
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Gregory Sullivan Isaacs
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Gregory Sullivan Isaacs: The Death of Pyramus for bass buffo or baritone voice and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
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Piano seul
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
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Musik Fabrik Music Publishing
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SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
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Piano seul
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
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Musik Fabrik Music Publishing
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SheetMusicPlus
Sing for Peace
Chorale SATB
Choral Choir,Choral (SATB) - Level 2 - Digital Download SKU: A0.1371453 Composed by…
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Choral Choir,Choral (SATB) - Level 2 - Digital Download SKU: A0.1371453 Composed by Leonhard Stampler. Arranged by Leonhard Stampler. 21st Century,A Cappella,Contemporary,Multicultural,Pop,World. 16 pages. Leonhard Stampler #955672. Published by Leonhard Stampler (A0.1371453). Sing for Peace is a song dedicated to all who are suffering from war and terrorism.The lyrics of this song are based on and inspired by these quotes showing us how music can ease tension, bring people together and inspire change:“This will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before.†(Leonard Bernstein)“Where words fail, music speaks.†(Hans Christian Andersen)“Some of us are born with a weakness for music. As a baby, music would stop whatever thought I was having. If I was worried, it would stop me worrying; if I was crying, it would stop me crying. Music was a healing thing for me.†(Andrea Bocelli)“Music is the message of peace, and music only brings peace.†(Zubin Mehta)“Brotherhood despite all wars and conflicts: I try - to the best of my ability - to serve this idea in my music.†(Béla Bártok)“Music is meaningless noise unless it touches a receiving mind.†(Paul Hindemith)Music - that wonderful language - should be a source of communication among men. (Pablo Casals)When music and courtesy are better understood and appreciated, there will be no war.†(Confucius).
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Chorale SATB
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Leonhard Stampler
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Leonhard Stampler
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Sing for Peace
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Leonhard Stampler
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SheetMusicPlus
Away in a Manger
Choral Choir,Choral (5-Part) - Level 3 - Digital Download SKU: A0.1302645 Composed …
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Choral Choir,Choral (5-Part) - Level 3 - Digital Download SKU: A0.1302645 Composed by W.J. Kirpatrick. Arranged by Ryan Gunderson. A Cappella,Christmas,Jazz. 6 pages. Ryan Gunderson Music #892267. Published by Ryan Gunderson Music (A0.1302645). This arrangement is a fun, beautiful, lush jazz rendition of the beloved carol, “Away in a Manger.†It is written for SATBB and is intended for intermediate ensembles. Despite it being one of my first jazz arrangements - it is highly convincing, enjoyable to sing, and approachable! Have fun diving into the piece, keep an eye out for the optional note change, and I hope you enjoy!
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W
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Ryan Gunderson
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Away in a Manger
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Ryan Gunderson Music
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SheetMusicPlus
My Old Kentucky Home
Guitare
Guitar - Level 2 - Digital Download SKU: A0.1168489 Composed by Stephen Foster. Arr…
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Guitar - Level 2 - Digital Download SKU: A0.1168489 Composed by Stephen Foster. Arranged by Brian Streckfus. Country,Folk,Instructional,Pop,Singer/Songwriter. Chords/Lyrics. 1 pages. Brian Streckfus #768792. Published by Brian Streckfus (A0.1168489). If you are looking for a historically accurate version, I would just get Hal Leonard's publications of it. This version really sprinkles some razzle dazzle on an otherwise straightforward public domain song in G major, though it does not use the exact original melody.1. The original melody is NOT intact, this is ghostwritten. Notes were flatted to give a bluesier sound.  2. The chords are very modern, despite this song being written in the mid 1850s. 3. Grace notes added 4. Background harmonies now have more thought put into part writing, originality, being idiomatic on guitar, and making the melody the forefront. 5. Left hand fingerings added to aid in sight-reading.6. Letter names added to note heads to aid in sight-reading.7. I like versions like this because it could be used for a guitarist who doesn't sing, a guitarist who does sing, or a guitarist in a band. In otherwords, the more band members, the more you are just focusing on background chords, the more you are a one-person band, the more you have to take everything in. Tips:1. I arranged this so that students could see how blues scales work as I drenched this song in more blues than it originally had (Bb - B...F - F#...E minor blues and G major blues respectively.) You'll notice I don't stay on these dissonant blues notes for very long, that's why there's so many grace notes in this song.2. The D9 in measure 6 was originally a D7. Some extensions like this don't really change the scale in use.3. The Ab7 in measure 7 was originally a D7, making the Ab7 a tritone substitution. If you know the key of G major well, that chord should stick out like a sore thumb. 4. The Bb7 in measure 14 was originally a G7. I call these kind of substituitions mediant substitutions as they are similiar to jazz tritone substitions, but at a 3rd instead of a tritone.5. The Cm(maj7) was originally a C major chord. This is a modal borrowing composition technique of borrowing from the parrallel minor, in this case, G minor.
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Guitare
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Stephen Foster
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Brian Streckfus
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My Old Kentucky Home
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Brian Streckfus
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SheetMusicPlus
The Dying of the Light : Musical Settings of the Poetry of Dylan Thomas (Downloadable Piano/Vocal Score)
Tenor voice solo with string quartet or piano - Moderately Easy - Digital Download SKU:…
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Tenor voice solo with string quartet or piano - Moderately Easy - Digital Download SKU: MQ.8329-E Composed by Gwyneth W. Walker. Instrument part. 23 pages. Duration 10 minutes, 10 seconds. E. C. Schirmer Music Company - Digital #8329-E. Published by E. C. Schirmer Music Company - Digital (MQ.8329-E). English.The poetry of Dylan Thomas (1914–1953) is characteristically Welsh and dark. Death is a common topic in his writings. Yet despite the somber imagery, there is often a strength and resilience. The journey of death is described, but not taken. Death is the adversary, not the ruler. The Hand that Signed the Paper speaks of the often cruel and deadly power of a signed document- a document of taxation, of treaty or of counting casualties. The five fingers mark the dead, but do not soothe. “Hands have no tears to flow.†And Death Shall Have No Dominion expresses the triumph of the human spirit over death. “Though lovers be lost love shall not.†Do Not Go Gentle into that Good Night represents the fight against death. “Rage, rage against the dying of the light.†The musical expression of these poems places the voice in the low (dark) range. Tempi are slow, and minor keys are prevalent. Only occasionally are major tonalities presented. These passages combine with particularly uplifting phrases such as “Though they sink through the sea, they shall rise again†and “Wild men, who caught and sang the sun in flight…†Near the end of the last song, the poet addresses his deceased father: “And you, my father, there on the sad height...†The voice stays on a constant pitch while the harmony lifts beneath (to the heights), in the Lydian (raised) mode. [One might hear the voice as “perched atop†the rising chords.] This is one of the most personal lines of Dylan Thomas' poetry. As the poet speaks to his father, the climax of the song comes with the rising phrases of “Rage, rage against the dying of the light.†The final chords are dissonant, marked “with determination and triumph.†Duration: 10:10.
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Gwyneth W
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The Dying of the Light : Musical Settings of the Poetry of Dylan Thomas
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
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