Partitions Numériques de Late at Night pour Chorale TTBB

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TRI ET FILTRES

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PIANO & CLAVIERS

Piano seul 77 Instruments en Do 5 Orgue 5 Piano, Voix et Guitare 5 Piano Facile 4

Piano, Voix 4 1 Piano, 4 mains 2 Piano Quatuor: piano, violon, alto, violoncelle 2 1 Piano, 6 mains 1 Piano Trio: piano, violon, violoncelle 1

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GUITARES

Guitare 6 Basse electrique 2 Guitare notes et tablatures 2 Piano, Guitare (duo) 1 Guitare, Violon, Violoncelle (trio) 1

VOIX

Chorale SATB 9 Chorale TTBB 4 Chorale 3 parties 4 Chorale 2 parties 3 Chorale Unison 2

Voix duo 1 Chorale SSAA 1 Voix haute 1 Voix moyenne, Piano 1

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VENTS

Flûte traversière et Piano 15 Saxophone Alto et Piano 10 Hautbois, Piano (duo) 9 Clarinette et Piano 8 Saxophone Tenor et Piano 8

2 Saxophones (duo) 7 Clarinette 6 Saxophone Soprano et Piano 5 Saxophone Baryton, Piano 5 Quatuor de Clarinettes: 4 clarinettes 5 Quatuor de Flûtes : 4 flûtes 4 2 Clarinettes (duo) 3 Saxophone, Clarinette (duo) 3 Quintette de Clarinettes: 5 clarinettes 3 2 Flûtes traversières (duo) 3 Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 3 Hautbois (partie séparée) 3 Clarinette Basse, Piano 2 Clarinette, Violon (duo) 2 Cor anglais, Piano 2 Flûte, Clarinette (duo) 2 Flute (partie séparée) 2 Ensemble de Clarinettes 2 Quatuor de Saxophones: 4 saxophones 2 Hautbois, Clarinette (duo) 1 Saxophone Tenor 1 Ensemble de Flûtes 1 Flûte, Saxophone (duo) 1 Clarinette, Guitare (duo) 1 Flûte et Guitare 1 Flûte, Violon 1 3 Saxophones (trio) 1 Hautbois, Flûte 1 Hautbois, Basson (duo) 1 2 Hautbois (duo) 1 Flûte, Hautbois, Clarinette, Basson 1 Saxophone Alto 1 Saxophone (partie séparée) 1 Flûte, Basson et Piano 1 Flûte, Alto (duo) 1

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CUIVRES

Cor et Piano 9 Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 8 Trombone et Piano 8 Trompette 5 Cor 2

Trompette (partie séparée) 2 Trompette, Saxophone (duo) 2 Euphonium, Piano (duo) 2 Cor anglais, Piano 2 Trompette, Piano 2 2 Trombones (duo) 2 2 Cors (duo) 2 Tuba et Piano 2 2 Trompettes (duo) 2 Trompette, Trombone (duo) 1 Quatuor de cuivres: 4 trombones 1 Trompette, Euphonium (duo) 1

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CORDES

Quatuor à cordes: 2 violons, alto, violoncelle 13 Violon et Piano 8 Alto, Piano 7 Violoncelle, Piano 6 Violon 4

Harpe 4 Violon, Violoncelle (duo) 3 Violoncelle 2 2 Violons (duo) 2 Alto seul 2 2 Violoncelles (duo) 2 Violon, Clarinette, Piano (trio) 1 4 Violoncelles 1 Violon, Alto (duo) 1 Trio à Cordes: violon, alto, violoncelle 1 Contre Basse 1

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PERCUSSIONS & ORCHESTRES

Orchestre d'harmonie 40 Orchestre à Cordes 12 Orchestre 11 Ensemble Jazz 4 Orchestre de chambre 3

Ensemble de cuivres 3 Cloches 1 Ensemble de Percussions 1 Quintette de Cuivres: autres combinaisons 1 Fanfare 1

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AUTRES

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Late at Night

Chorale TTBB

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4 partitions trouvées

The Story Of Reuben Clamzo & His Strange Daughter

Chorale TTBB

Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. B…(+)

Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. â€˜Is that you kids?â€™ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the shipâ€¦ You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you knowâ€”them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For â€¦he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.

3.66 € $3.99 #Chorale TTBB #Arlo Guthrie #Craig Hanson #The Story Of Reuben Clamzo & His Strange Daughter #Edition Craig Hanson #SheetMusicPlus

Op. 7 Canzona alla terza "Verbum supernum prodiens" (SSA/TTB, Latin)

Chorale TTBB

Choral Choir (TTBB) - Level 4 - Digital Download SKU: A0.898552 Composed by Matthew…(+)

Choral Choir (TTBB) - Level 4 - Digital Download SKU: A0.898552 Composed by Matthew Alan Edwards. Arranged by Matthew Alan Edwards. Baroque,Christmas,Concert,Renaissance,Sacred. Octavo. 9 pages. Matthew Alan Edwards #4266215. Published by Matthew Alan Edwards (A0.898552). Now offering 25% off my SMP price at MatthewAlanEdwards.com/op-7 !Canzona alla terza Verbum supernum prodiens was composed late one night after I was inspired by the chant melody as found in the Hymnal 1982, hymn 63. Rather than compose on the computer as I usually do, I wrote by hand as I determined the best four-part canonic treatment for each of the phrases of the chant. Composing this was akin to assembling a puzzle, both in mindset (this note fits best here) and addictive quality (need to finish this now!). Originally conceived as a short organ piece, I quickly chose to add the English text from the Hymnal 1982 then text directly from the Liber Usualis, a Catholic book of Gregorian chants commonly used until the reforms of the Second Vatican Council (Vatican II). This piece is similar in style to an Italian Renaissance canzona or early German Baroque kanon. It should be performed with performance practice of those eras in mind, including lifts after dotted notes, metric accents, and minimal vibrato, especially at cadences. Lines that end in a melisma should be performed by singing the final vowel and placing the consonant at the release of the final melisma note. The first verse may be sung in unison or as a solo as printed below. The verses may be sung in alternatum (odd verses, printed below: solo chant, even verses: choir). For a complete translation of the six Latin verses, refer to the next page. In the musicâ€™s text, I have retained all accent marks as found in the Liber Usualis. These should help inform text stress. The last two verses are suitable as a Communion anthem. This SSA Latin version was adapted from the original SATB version for the women of the Hillcrest High School choral program under the direction of Dr. Khristina Motley in Tuscaloosa, Alabama. It reduces the original four-voice setting to three voices without sacrificing any canonic entrances. This SSA version is also suitable for performance by an advanced middle school choral ensemble or for TTB men.Also available as an organ solo or in English. SATB Latin/English versions coming soon!

2.01 € $2.19 #Chorale TTBB #Matthew Alan Edwards #Matthew Alan Edwards #Op. 7 Canzona alla terza "Verbum supernum prodiens" #Matthew Alan Edwards #SheetMusicPlus

Op. 7 Canzona alla terza "Verbum supernum prodiens" (SSA/TTB, English)

Chorale TTBB

Choral Choir (TTBB) - Level 4 - Digital Download SKU: A0.898554 Composed by Matthew…(+)

Choral Choir (TTBB) - Level 4 - Digital Download SKU: A0.898554 Composed by Matthew Alan Edwards. Arranged by Matthew Alan Edwards. Baroque,Christmas,Concert,Renaissance,Sacred. Octavo. 7 pages. Matthew Alan Edwards #4266219. Published by Matthew Alan Edwards (A0.898554). Now offering 25% off my SMP price at MatthewAlanEdwards.com/op-7 !Canzona alla terza Verbum supernum prodiens was composed late one night after I was inspired by the chant melody as found in the Hymnal 1982, hymn 63. Rather than compose on the computer as I usually do, I wrote by hand as I determined the best four-part canonic treatment for each of the phrases of the chant. Composing this was akin to assembling a puzzle, both in mindset (this note fits best here) and addictive quality (need to finish this now!). Originally conceived as a short organ piece, I quickly chose to add the English text from the Hymnal 1982 then text directly from the Liber Usualis, a Catholic book of Gregorian chants commonly used until the reforms of the Second Vatican Council (Vatican II). This piece is similar in style to an Italian Renaissance canzona or early German Baroque kanon. It should be performed with performance practice of those eras in mind, including lifts after dotted notes, metric accents, and minimal vibrato, especially at cadences. Lines that end in a melisma should be performed by singing the final vowel and placing the consonant at the release of the final melisma note. The first verse may be sung in unison or as a solo as printed below. The verses may be sung in alternatum (odd verses printed below: solo chant, even verses: choir). The first four verses form a complete anthem and the last two verses are suitable as a Communion anthem, or all six may be sung. The SSA Latin version was adapted from the original SATB version for the women of the Hillcrest High School choral program under the direction of Dr. Khristina Motley in Tuscaloosa, Alabama. It reduces the original four-voice setting to three voices without sacrificing any canonic entrances. This SSA English version is also suitable for performance by an advanced middle school choral ensemble or for TTB men.Also available as an organ solo or in Latin. SATB Latin/English versions coming soon!

2.01 € $2.19 #Chorale TTBB #Matthew Alan Edwards #Matthew Alan Edwards #Op. 7 Canzona alla terza "Verbum supernum prodiens" #Matthew Alan Edwards #SheetMusicPlus

Africa

Chorale TTBB

Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.943040 By Toto. By David P…(+)

Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.943040 By Toto. By David Paich, Jeff Porcaro, Prince Lamont Board Priese, and Robin Dimaggio. Arranged by Jonathan Kilhams. Pop,Rock. Octavo. 18 pages. Jonathan Kilhams #4797945. Published by Jonathan Kilhams (A0.943040). About the pieceAfrica is a song by the American rock band Toto. It was included on their 1982 album Toto IV, and released as a single on September 30, 1982. It reached number one on the US Billboard Hot 100 chart on February 5, 1983 (the band's only number one there), and number three on the UK Singles Chart the same month.The initial idea and words for the song came from David Paich. Jeff Porcaro explains the idea behind the song: a white boy is trying to write a song on Africa, but since he's never been there, he can only tell what he's seen on TV or remembers in the past.Paich said: At the beginning of the '80s I watched a late night documentary on TV about all the terrible death and suffering of the people in Africa. It both moved and appalled me, and the pictures just wouldn't leave my head. I tried to imagine how I'd feel about if I was there and what I'd do.In 2015, Paich explained the song is about a man's love of a continent, Africa, rather than just a personal romance. In 2018, Paich explained the song is about a person flying in to meet a lonely missionary. As a child, Paich attended a Catholic school. Several of the teachers had done missionary work in Africa, and this became the inspiration behind the line I bless the rains down in Africa.About the arrangementI have tried to keep as much of the original material used by Toto as possible, within the confines of a male voice choir arrangement. The arrangement is for TTBB and piano and can include sound effects made by the choir at the beginning to imitate rain and a thunderstorm. A bongo/djembe drum can be played through the choruses to add more of an African percussive feel. My thanks must go to Gareth Giles who helped create the piano part for this arrangement.Duration: 4 minsAdditional Parts & Social MediaIf you require any additional learning parts or rehearsal tracks then please contact me directly through www.jonathankilhams.com. I am also on Facebook, Twitter and Instagram so please let me know if your choir are planning to sing my arrangement - it is always nice to know where in the world it is being performed. Facebook: @johnnykilhamsmusicTwitter: @Johnny_KilhamsInstagram: @johnnykilhamsmusic

4.59 € $5.00 #Chorale TTBB #Toto #Jonathan Kilhams #Africa #Jonathan Kilhams #SheetMusicPlus