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The Other Side Of The Door
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Vous avez sélectionné:
The Other Side Of The Door
Partitions à imprimer
9 partitions trouvées
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1
The Sundials
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Contemporain
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Matthew Scott Phillips
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a shadow
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The Sundials
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Matthew Scott Phillips
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SheetMusicPlus
Piano Trio,String Ensemble - SKU: A0.1004152 Composed by Matthew Scott Phillips. Contemporary. Score and parts. 98 pages. Matthew Scott Phillips #580083...
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Piano Trio,String Ensemble - SKU: A0.1004152 Composed by Matthew Scott Phillips. Contemporary. Score and parts. 98 pages. Matthew Scott Phillips #5800833. Published by Matthew Scott Phillips (A0.1004152). Throughout the centuries, civilizations have used sundials to tell time. This instrument consists of a gnomon (Greek for knower), a long pole or incline, whose shadow is cast onto a flat stone or metal plate, that either lies on the ground or is erected onto a wall. This plate is marked with the hours of the day, and the gnomon's shadow passes over the marks. More than just an ancient timepiece, these instruments are doorways to the eternal past, and prophets of the eternal future. They bare witness to the infinite fleeting-ness of the lives of human beings. Unlike a modern watch or digital clock, in which every second enjoys its own momentary significance, the hours as marked by the sundial flow into one another in a continuous stream, that is ultimately timeless. The final hour of any mortal creature is, in this way, no more significant than the first, and all our hours seem insignificant in the context of the cosmos' grandness. Etched upon a great many sundials, in Greek, Latin, English, German, or French, is a motto designed to inspire human beings to consider these truths. Why so many sundial makers felt the need to inscribe on their creations their own philosophies and musings is unclear. Yet, each of these mottos seems contrived to express the contemplations of time and eternity so integral to the sundials' existence. Mottos such as umbra sumus (we amount to shadow) often hold multiple meanings. The we referred to can be the hours, which seem extant only because of the shadow passing over them. Or it can refer to the ephemeral nature of our lives, which on the grand calendar of eternity are so short as to be nothing. Or perhaps it warns that time itself is no more than an illusion; a shadow. Whether they are existential, humorous (I only count the sunny hours), or offer advice (use the hours, don't count them), these mottos are intended to give us pause: to compel us to look for a moment, not at the fleeting significance of our mundane lives, ticked away as they are in tiny hours, but to consider the eternal time that lies beyond us, and to therefore be briefly in contact with it. This composition, approximately an hour long and written for piano trio (Piano, Violin, and Cello), intends as its goal the same purpose as the mottos that inspired it. To transport those who listen to it (listen not merely hear) away from the earthly, and into the cosmic. Each movement is named after a different motto. The mottos, their English translations and the locations of the sundials that bare (or once bore) them is listed at the front. This is one hour, hopefully, that will not simply fade away, but rather will be one spent in the company of the eternal. .
$7.00
The Great Divide
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Drew Morris
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The Great Divide
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Yellow Envelope Publications
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SheetMusicPlus
Percussion Ensemble Bells,Cymbals,Marimba,Snare Drum,Tam Tam,Tom Tom,Triangle,Vibraphone,Xylophone - Level 4 - SKU: A0.1272820 Composed by Drew Morris. ...
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Percussion Ensemble Bells,Cymbals,Marimba,Snare Drum,Tam Tam,Tom Tom,Triangle,Vibraphone,Xylophone - Level 4 - SKU: A0.1272820 Composed by Drew Morris. 21st Century,Contemporary,Contest,Festival. 56 pages. Yellow Envelope Publications #865018. Published by Yellow Envelope Publications (A0.1272820). The Great Divide was originally composed for an Indoor Concert Percussion ensemble for use in WGI competitions. It is based on the idea of sounds bouncing from one side of the ensemble to the other. It also has an extensive section incorporating an alternating 4/4 and 7/8 groove. Instrumentation11 Players - Glockenspiel (2), Xylophone, Vibraphone, Marimba, Synthesizer, Bass Guitar, Snare Drum (2), Concert Toms (4), Floor Tom, Drum Set Bass Drum (2), Concert Bass Drum,Suspended Cymbal (2), Hi-hat, Splash Cymbal, China Cymbal, Tam-tam, Triangle
$45.00
Mysterious Moment for oboe and string trio
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Contemporain
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David Warin Solomons
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Mysterious Moment for oboe and
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David Warin Solomons
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SheetMusicPlus
Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - SKU: A0.576733 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages....
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Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - SKU: A0.576733 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #90581. Published by David Warin Solomons (A0.576733). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.
$8.00
Eternal Bridge For Oboe Harp And Strings
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Luis Anjos Teixeira
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Eternal Bridge For Oboe Harp A
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Luis Anjos Teixeira
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SheetMusicPlus
Large Ensemble Cello,Double Bass,Harp,Oboe,Viola,Violin - Level 3 - SKU: A0.889419 Composed by Luis Anjos Teixeira. Concert,Contemporary. Score and part...
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Large Ensemble Cello,Double Bass,Harp,Oboe,Viola,Violin - Level 3 - SKU: A0.889419 Composed by Luis Anjos Teixeira. Concert,Contemporary. Score and parts. 36 pages. Luis Anjos Teixeira #3492515. Published by Luis Anjos Teixeira (A0.889419). For the 2018 Chamber Music Contest Entry Eternal Bridge was made to be performed by a group of six soloists playing the following instruments: Oboe, Harp, Violin, Viola, Cello, Double Bass. It is not a difficult piece once learned. It is really a great fun for the players and very easy listening too, It covers a very wide range of audience demands. There is a groove feeling on it that makes it very pleasant to most all people. Because of its plasticity the piece allows many interpretations, therefore I did not made much use of interpretation symbols in order to leave to the performers the freedom of doing their own. Bowing and fingering are left totally virgin at the hands of the schools or the creativity of the performing Artists. P.S. - The score was written on Finale. The sound file For the 2018 Chamber Music Contest Entry, was performed with samplers from Garritan and conceived as an audio support for the presentation of the score. This is the first time that this version is published in Sheet Music Plus. Thank you very much for taking your time to read this text and to listen to the file. I hope you have a lot of fun and enjoy the music. Sheers! Thanks to Claudia Eppelt for the cover design, all the Love and inspiration. Special Thanks to Nina and Stray Queen Mimi for my Family, all their Love Patience and Compassion. Love Forever.„The litle story of the - „Eternal BridgeEternal Bridge came out of a dream. Imagine a little railway station, a train that comes and stops, and your friends go inside. As you step on the little stairs to go inside, the doors close letting you out, and the train starts rolling. It speeds up very fast and enough so you can`t jump out of the little stairs back to the ground, you are holding now to the iron bars around the doors of the train, you see your friends and the people inside but they can`t see you, they can`t hear you, and you notice that the train is now on a bridge so high, that you can`t see the earth any more. Wind is blowing around me and I feel this cosmic cold and everything starts to twist around in a gigantic spiral. I still feel the Gravity but it goes in all directions at the same time pushing me violently and I feared to fail the grip on the iron bars and fall down, in an imaginary endless abyss. Little by little the speed of the events slows down progressively until everything freezes. Now, The other side of the bridge does not exist at all, neither the beginning or up or down. The train disappeared in a glimpse and I noticed that I was not falling down, just hanging there out in hyperspace, Free from Gravity. I lost the fear of falling in the abyss, it felt kind a good, because the only thing that I could see was light, pure beautiful bright white light, I was floating in light, I realised I could stay there forever, but then I felt lonely and wanted to come back home. When I finally woke up, I wrote this words in Portuguese and made a song out of it. the words go like:Ponte eterna abismo sem fundo - Vento ciclónico medo profundo - Comboio gelado lentidão d`aço - Espiral eterna suspensa no espaço - Maos agarram a vida duas barras d` aço - Corpo sacudido em espasmos de medo - Alucinação divina acordar de um sonho Eternal Bridge endless Abyss - Cyclonic wind deep Fear - Frozen Train slowness of steel - Eternal spiral suspended in space - Hands cling to life on two bars of steel - Body shaken into spasms of fear - Divine hallucination waking up from a dream
$25.00
To Love Somebody
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Michael Bolton
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Peet du Toit
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To Love Somebody
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Peet du Toit
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SheetMusicPlus
Brass Quintet Flugelhorn,Trombone,Trumpet,Tuba - Level 2 - SKU: A0.1394105 By Michael Bolton. By Barry Gibb and Robin Gibb. Arranged by Peet du Toit. So...
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Brass Quintet Flugelhorn,Trombone,Trumpet,Tuba - Level 2 - SKU: A0.1394105 By Michael Bolton. By Barry Gibb and Robin Gibb. Arranged by Peet du Toit. Soul. 17 pages. Peet du Toit #977563. Published by Peet du Toit (A0.1394105). To Love Somebody is a song written by Barry and Robin Gibb. Produced by Robert Stigwood, it was the second single released by the Bee Gees from their international debut album, Bee Gees 1st, in 1967. The single reached No. 17 in the United States and No. 41 in the United Kingdom. The song's B-side was Close Another Door. The single was reissued in 1980 on RSO Records with How Can You Mend a Broken Heart as its flipside. The song ranked at number 94 on NME magazine's 100 Best Tracks of the Sixties. It was a minor hit in the UK and France. It reached the top 20 in the US. It reached the top 10 in Canada.In a 2017 interview with Piers Morgan's Life Stories, Barry was asked of all the songs that you've ever written, which song would you choose? Barry said that To Love Somebody was the song that he'd choose as it has a clear, emotional message.Taste this one with the soothing sounds of a Brass Quintet, supported by the Percussion. Enjoy!
$15.00
To Love Somebody
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Contemporain
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Michael Bolton
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Peet du Toit
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supported by the Percussion
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To Love Somebody
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Peet du Toit
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SheetMusicPlus
Small Ensemble Drum Set,Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.802644 By Michael Bolton. By Barry Gibb and Robin Gibb. Arranged by Peet du Toit....
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Small Ensemble Drum Set,Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.802644 By Michael Bolton. By Barry Gibb and Robin Gibb. Arranged by Peet du Toit. Contemporary. Score and parts. 21 pages. Peet du Toit #6196811. Published by Peet du Toit (A0.802644). To Love Somebody is a song written by Barry and Robin Gibb. Produced by Robert Stigwood, it was the second single released by the Bee Gees from their international debut album, Bee Gees 1st, in 1967. The single reached No. 17 in the United States and No. 41 in the United Kingdom. The song's B-side was Close Another Door. The single was reissued in 1980 on RSO Records with How Can You Mend a Broken Heart as its flipside. The song ranked at number 94 on NME magazine's 100 Best Tracks of the Sixties. It was a minor hit in the UK and France. It reached the top 20 in the US. It reached the top 10 in Canada.In a 2017 interview with Piers Morgan's Life Stories, Barry was asked of all the songs that you've ever written, which song would you choose? Barry said that To Love Somebody was the song that he'd choose as it has a clear, emotional message.Taste this one with the soothing sounds of a Brass Quintet - Trombone solo - supported by the Percussion. Enjoy!
$19.00
Wolf Skin
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Elizabeth Skola Davis
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Wolf Skin
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Elizabeth Ann Davis
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SheetMusicPlus
Double Bass,Piano Accompaniment,Tenor Voice - Level 4 - SKU: A0.826963 Composed by Elizabeth Skola Davis. Children,Contemporary. 19 pages. Elizabeth Ann...
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Double Bass,Piano Accompaniment,Tenor Voice - Level 4 - SKU: A0.826963 Composed by Elizabeth Skola Davis. Children,Contemporary. 19 pages. Elizabeth Ann Davis #2849785. Published by Elizabeth Ann Davis (A0.826963). Wolf Skin, an original song for male voice, upright bass, and piano, was written to accompany a prose poem of the same name by Mary McMyne, which originally appeared in the Los Angeles Review and was subsequently reprinted as the title poem in McMyne's Elgin-Award-nominated collection (Wolf Skin, Dancing Girl Press, 2014). The lyrics and music retell the Little Red Riding Hood folktale from the huntsman's perspective, putting the listener into the position of the hero in the Brothers Grimm variant as he enters the grandmother's house. Inside, the baritone sings, the shadows shape a riddle, a story. The half-burnt candle in the kitchen, the unwashed dishes. The cloth-covered basket by the door. With these lines, we travel into the grandmother's house with the huntsman, the bass conjuring the strange buzzing sound of the wolf's snores, the piano manifesting the huntsman's realization of what happened before he arrived. The discord between the three voices in the trio, like the poem, questions the classic tale, interrogating the familiar trope of huntsman as hero at the same time as it pays homage to Franz Schubert's Erlkönig with its driving rhythm and dark tone.Bass part may be played by cello.Baritone version also available.
$3.99
Wolf Skin
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Elizabeth Skola Davis
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Wolf Skin
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Elizabeth Ann Davis
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SheetMusicPlus
Double Bass,Medium Voice,Piano Accompaniment - Level 4 - SKU: A0.826962 Composed by Elizabeth Skola Davis. Children,Contemporary. 18 pages. Elizabeth An...
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Double Bass,Medium Voice,Piano Accompaniment - Level 4 - SKU: A0.826962 Composed by Elizabeth Skola Davis. Children,Contemporary. 18 pages. Elizabeth Ann Davis #2849783. Published by Elizabeth Ann Davis (A0.826962). Wolf Skin, an original song for male voice, upright bass, and piano, was written to accompany a prose poem of the same name by Mary McMyne, which originally appeared in the Los Angeles Review and was subsequently reprinted as the title poem in McMyne's Elgin-Award-nominated collection (Wolf Skin, Dancing Girl Press, 2014). The lyrics and music retell the Little Red Riding Hood folktale from the huntsman's perspective, putting the listener into the position of the hero in the Brothers Grimm variant as he enters the grandmother's house. Inside, the baritone sings, the shadows shape a riddle, a story. The half-burnt candle in the kitchen, the unwashed dishes. The cloth-covered basket by the door. With these lines, we travel into the grandmother's house with the huntsman, the bass conjuring the strange buzzing sound of the wolf's snores, the piano manifesting the huntsman's realization of what happened before he arrived. The discord between the three voices in the trio, like the poem, questions the classic tale, interrogating the familiar trope of huntsman as hero at the same time as it pays homage to Franz Schubert's Erlkönig with its driving rhythm and dark tone.Bass part may be played by cello.Tenor version also available.
$3.99
Christmas Carols (Coventry and Wexford) SSAA Flute or Cello or Violin and piano
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Noël
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by lully lullay Lullay thou li
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Unknown
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Connie Boss
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Christmas Carols
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Connie Boss
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SheetMusicPlus
Small Ensemble Alto Voice,Flute,Piano,Soprano voice - Level 2 - SKU: A0.1097719 Composed by Unknown. Arranged by Connie Boss. Christmas,Holiday. Score a...
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Small Ensemble Alto Voice,Flute,Piano,Soprano voice - Level 2 - SKU: A0.1097719 Composed by Unknown. Arranged by Connie Boss. Christmas,Holiday. Score and parts. 13 pages. Connie Boss #701660. Published by Connie Boss (A0.1097719). I have combined two beautiful pieces from England and Ireland into one piece. This is for SSAA, flute and piano. I have other arrangements on here as well. For requests or questions email cdboss@cvalley.net Lyrics: Christmas Carols (The Coventry Carol and Wexford Carol) Arranged by Connie Boss (Solo) Lullay thou little tiny child, By by lully lullay Lullay thou little tiny child, By by lully lullay Verse 1: Good people all this Christmas time Consider all and bear in mind, What our good God for us has done In sending His beloved Son With Mary holy, we should pray to God with love To God with love this Christmas Day. Verse 2: The night before that happy tide, The noble virgin while with her guide, Were long time seeking up and down, To find a lodging in the town. But mark how all things had come to pass From ev’ry door repelled at last As long foretold their refuge all Was but a humble, oxen’s stall Verse 3: Near Bethlehem did shepherds keep Their flocks of lamb and feeding sheep To whom God’s angels did appear Which put the shepherds in great fear. “Prepare and go the Angel’s said To Bethlehem, be not afraid†For there you’ll find this happy morn A princely babe, sweet Jesus born. Ending: By by lully lullay.
$5.99
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The Other Side Of The Door
