Partitions Numériques de The Voice

The Voice

Fair Katrinelje and Pif-Paf-Poltrie (from the Brothers Grimm Song Cycle)

Small Ensemble Cello,Flute,High Voice,Piano - Level 5 - Digital Download SKU: A0.800331…(+)

Small Ensemble Cello,Flute,High Voice,Piano - Level 5 - Digital Download SKU: A0.800331 Composed by Sarah Wallin Huff. Contemporary. Score and parts. 43 pages. Novel Soundtrax #11219. Published by Novel Soundtrax (A0.800331). This work by Sarah Wallin is a vocal text setting for soprano, flute, cello, and piano, completed in 2008. According to Dr. Edward David Zeliff, Fair Katrinelje... is very interesting, clever, witty, and captures the quirky little scenario of this poor fellow trying so hard to line up a bride by having to go through the firewall of her entire family and then having enough umph left over to get her attention as well. It's very Stravinskyish, and the charm and humor comes through. The story of Fair Katrinelje and Pif-Paf-Poltrie is a lesser-known fairy tale found in the Children's and Household Tales of Jacob and Wilhelm Grimm, the famous Brothers Grimm. Fair Katrinelje and Pif-Paf-Poltrie is a comedic dialogue. Our hero, Pif-Paf-Poltrie, is out to seek the hand of his beloved, the Fair Katrinelje, in marriage. Being the gentleman that he is, he approaches in turn each member of his beloved's family to ask their permission. Father Hollenthe, Mother Malcho, Brother High-and-Mighty, and Sister KÃ¤setraut all respond in turn similarly â€“ essentially, If it's all right with everyone else, it's all right with me. The challenge for the vocalist is to convey the essence and the hilarity of the dialogue by highlighting, with the mannerisms of the voice, the attitudes and characteristics of each character speaking. Above each character's lines, it is made clear whom it is that is speaking and the emotional context within which it is being spoken. The vocalist has complete freedom to effect these roles in whatever manner and to whatever degree is deemed appropriate, provided the musical integrity of the work is kept intact.
$15.00 13.6 € #Sarah Wallin Huff #Fair Katrinelje and Pif-Paf-Poltrie #Novel Soundtrax #SheetMusicPlus

With A Shout (1 Thessalonians 4.16-18 WEB)

Small Ensemble Choir,High Voice,Trumpet - Level 2 - Digital Download SKU: A0.950768…(+)

Small Ensemble Choir,High Voice,Trumpet - Level 2 - Digital Download SKU: A0.950768 Composed by Chris Monteiro. Christian,Praise & Worship,Sacred. Score and parts. 2 pages. Christopher M. Monteiro #3384719. Published by Christopher M. Monteiro (A0.950768). For the Lord himself will descend from heaven with a shout, with the voice of the archangel and with Godâ€™s trumpet. The dead in Christ will rise first, then we who are alive, who are left, will be caught up together with them in the clouds, to meet the Lord in the air. So we will be with the Lord forever. Therefore comfort one another with these words. This unaccompanied bugle call in C Major for Bâ™ Trumpet or Voice has been fashioned to help you internalize Godâ€™s Word.The melody uses only the notes of the tonic triad, ranging from G above Middle C to the 2nd G above middle C. The text of this song is from The World English Bible (WEB), a Public Domain (no copyright) Modern English translation of the Holy Bible based on the American Standard Version of the Holy Bible first published in 1901, the Biblia Hebraica Stutgartensa Old Testament, and the Greek Majority Text New Testament.
$2.99 2.71 € #Chris Monteiro #With A Shout #Christopher M. Monteiro #SheetMusicPlus

Level 3 - Digital Download SKU: A0.1488249 Composed by Johann Sebastian Bach. Arranged by Alberto Mandarini. Baroque,Chamber,Classical,Historic,Instructional. 19 pages. Alm@music #1065126. Published by Alm@music (A0.1488249). I transcribed Contrapunctus I from the Art of Fugue by Johann Sebastian Bach, faithfully respecting the work of the Great Maestro, intervening only to distribute the voices when impracticable by the individual instruments and to give some breathing space to the various performers. In fact, from 4 parts, I obtained 5 using a small doubling only in the final part.The choice to use 3 trumpets and 2 trombones, and not the more typical brass quintet (2 trumpets, horn, trombone and tuba), was dictated by the lineup I had available at the time I made the transcription. Luckily, the second trombone part fits perfectly with the original fourth voice (…except for one very brief point…).However, in the future, I don't rule out creating a version for the standard quintet too!On a didactic level, the choice of this piece was certainly ambitious, but the extraordinary thing is that through Bach's music (!!!) it was possible to address an enormous amount of musical nuances. This immediately fascinated my students, both young and old, who did not hesitate to get involved with all their strength and I must say that, at the end of the study path, each of them achieved a clear improvement both technically and, above all, expressive.But then it's no surprise, Bach's music is always extraordinary and surprising!The structure of the transcription is therefore the original one and the duration is around 2 minutes and 45 seconds. To the expected parts I also added that of the horn in F, replacing the 3rd trumpet. At your discretion, of course, decide whether to replace it or double it directly.Also in this case, the audio is made with the synthetic sounds of midi, therefore not particularly captivating, but it should still be useful for getting an idea of the arrangement and for studying the individual parts.Good music!am.

Piano Trio,String Ensemble Cello,Double Bass,Piano,Violin - Level 2 - Digital Download SKU: A0.522286 Composed by Various. Arranged by Colin Kirkpatrick. Praise & Worship,Sacred. Score and parts. 50 pages. Colin Kirkpatrick Publications #6596257. Published by Colin Kirkpatrick Publications (A0.522286). Weâ€™re really excited to present our collection of sixty of the best-loved hymns ever composed, presented in three books. Arranged for violin, cello and piano they are intended either as stand-alone pieces that could be used as interludes in a service, or they could be used to accompany solo, choral or congregational singing. To make the music accessible to less experienced string players, the range of the notes has been kept fairly low so that many of the arrangements can be played in first position, though more experienced players would probably want to avoid open strings. The cello part does not follow the bass but instead plays an independent tenor line using to the mid to upper range of the instrument. The top note in the cello part is the F sharp above the bass clef. The piano part has been kept as straightforward as possible with the left hand playing the bass part. To extend the possible uses of this collection, thereâ€™s also a melody part printed in the bass clef, an octave lower than the violin part. This could of course be used for cello solo or indeed for any other bass clef instrument. Included in the 50-page PDF file is an optional bass part which follows the piano left hand and could be used for string bass or bass guitar. With such a small ensemble, a conductor is hardly necessary and to save on costs the pianist reads from the score. For this reason, the piano part in the score has been slightly enlarged. Book 1 contains the following twenty popular hymns: Abide with Me (Eventide); All Glory, Laud and Honor (St. Theodulph); All Hail the Power of Jesus' Name (Coronation); All Through the Night (Ar Hyd y Nos); City of God, How Broad and Far (Richmond - Haweis); Fairest Lord Jesus (Crusaderâ€™s Hymn); Fight the Good Fight (Duke Street); Forth in Thy Name (Angel's Song, Song 34); Guide Me, O Thou Great Redeemer (Cwm Rhondda); He who Would Valiant Be (Monkâ€™s Gate); Holy, Holy, Holy! (Nicea); I Heard the Voice of Jesus Say (Kingsfold); Jesu, Lover of my Soul (Aberystwyth); Nearer my God to Thee (Bethany); Now Thank We All Our God (Nun Danket); O Worship the King (Hanover); Rejoice, the Lord is King (Darwallâ€™s 148th); Soldiers of Christ, Arise (Diademata); The Lordâ€™s my Shepherd (Crimmond); What a Friend we Have in Jesus (Converse). The music has been set in string-friendly keys so they are not compatible with the brass or wind publications of the same name. The audio samples include Abide with Me; All Through the Night; I Heard the Voice of Jesus Say; Nearer my God to Thee and What a Friend we Have in Jesus.

Beatitude IV: Beati qui lugent (Blessed are they that grieve) (Downloadable)

Soprano voice solo, SS choir, organ, cello, and handbells - Moderately Easy - Digital Down…(+)

Soprano voice solo, SS choir, organ, cello, and handbells - Moderately Easy - Digital Download SKU: MQ.56-0026-E Composed by Howard Goodall. 12 pages. Duration 7 minutes, 10 seconds. MorningStar Music Publishers - Digital Sheet Music #56-0026-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.56-0026-E). Latin. Matthew 5:3-11.Written for the Enchanted Voices CD, this is one of many settings of texts either from the Beatitudes (or springing from them) available from this composer. For soprano solo and SS chorus, organ, cello, and handbells, the music has a light, ethereal feeling. The text is entirely in Latin and begins with a chant-like melody in unison. The cello begins to dialogue with this melody offset by a measure. The soloist is heard next in music that also dialogues with the cello, both a bit more complex than the beginning. All voices take up the solo passage, the cello commenting. The voices go into canon at the half measure, the cello continues with its own melody. The piece returns to unison and ends quietly. Duration 7:10Instrumentalists play from the choral score.
$3.15 2.86 € #Howard Goodall #Beatitude IV: Beati qui lugent #MorningStar Music Publishers - Digital Sheet Music #SheetMusicPlus

Beatitude VIII: Beati pacifici (Blessed are the peacemakers) (Downloadable)

Solo, SS choir divisi, cello, organ, and handbells - Moderately Easy - Digital Download (+)

Solo, SS choir divisi, cello, organ, and handbells - Moderately Easy - Digital Download SKU: MQ.56-0030-E Composed by Howard Goodall. Instrument parts. 9 pages. Duration 5 minutes, 58 seconds. MorningStar Music Publishers - Digital Sheet Music #56-0030-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.56-0030-E). Latin. Matthew 5:3-11.Written for the Enchanted Voices CD, this is one of many settings of texts either from the Beatitudes (or springing from them) available from this composer. For soloist, SS chorus (divisi), organ, cello, and handbells, the music has a light, ethereal feeling. A unison chant-line begins the piece unaccompanied. The organ enters with a drone as the chant continues. At the text â€œvocabuntur (called)â€ the voices split into three parts in a beautiful moment of radiance. There is a cello solo (13 measures) which restates the chant melody. The voice enter wordlessly as the cello continues. Finally, the chant melody reappears in the voices, in canon, as the music ends. Duration 5:58Instrumentalists play from the choral score.
$2.75 2.49 € #Howard Goodall #Beatitude VIII: Beati pacifici #MorningStar Music Publishers - Digital Sheet Music #SheetMusicPlus

Soprano voice solo, SATB choir, flute and piano (ad lib.) - Moderately Difficult - Digital Download SKU: MQ.7541-E Composed by Derek Healey. Instrument part. 9 pages. E. C. Schirmer Music Company - Digital #7541-E. Published by E. C. Schirmer Music Company - Digital (MQ.7541-E). English.These songs are dedicated to William Osborne. The title Three Sacred Songs: was given to these pieces rather than the more usual terms anthem or motet because of the strongly secular presence in the texts. The songs were written over a period of some eighteen months. The Shepherd Lad was finished on February 29, 2008. The Round Day and Magdaleneâ€™s Song were completed in Brooklyn on June 11, 2009, the music having been originally sketched-out on Christmas Day and Boxing Day 2008, at Putnam Valley, New York. In the first song, The Round Day, the singer hears the voice of the Blessed Virgin Mary as she sings to the glory of God throughout the day. The text was written on June 7, 2008. In The Shepherd Lad, the Spanish mystic Saint John of the Cross describes a shepherd ladâ€™s (Jesusâ€™s) love for a shepherdess (the Church) and how another (the Devil) tempted his love away. Heartbroken, the shepherd climbed a tree, â€œAnd threw wide his arms in sweetest charity, Since by His Shepherdess He was forsaken.â€ The original Spanish text was translated and adapted into Villanelle form by the composer in early December 2004. The text of Magdaleneâ€™s Song describes the feelings of a mystic, or a devotee of Jesus, inspired by the fresh beauty, grace and power of the Lord of creation. The main body of the text is given to a soprano solo. The text was written on April 27, 2008. These sacred songs were conceived as being performed either as a set or individually. The composer had secular ensembles in mind, such as college or concert choruses, but these songs may, of course, also be performed in a liturgical setting. The accompanying flute provides introductions, interludes and codas throughout the set and, on a few occasions, plays with the voices. The piano part is ad lib. (optional).

Beatitude III: Beati qui esuriunt (Blessed are the hungry) (Downloadable)

2 treble choir, cello, organ, and handbells - Easy - Digital Download SKU: MQ.56-0025-E…(+)

2 treble choir, cello, organ, and handbells - Easy - Digital Download SKU: MQ.56-0025-E Composed by Howard Goodall. Instrument parts. 5 pages. Duration 5 minutes, 2 seconds. MorningStar Music Publishers - Digital Sheet Music #56-0025-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.56-0025-E). Latin. Matthew 5:3-11.Written for the Enchanted Voices CD, this is one of many settings of texts either from the Beatitudes (or springing from them) available from this composer. For two-part treble chorus, cello, organ, and handbells, the music has a light, ethereal feeling. The piece begins in unison on a lyrical theme, which the cello echoes next in a 30-measure solo. The voices enter again with the theme, expanded to two parts. After brief restatement in the cello, the piece returns to a quiet, unison ending. Duration 5:02Instrumentalists play from the choral score.
$2.75 2.49 € #Howard Goodall #Beatitude III: Beati qui esuriunt #MorningStar Music Publishers - Digital Sheet Music #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:…(+)

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 (1914â€“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. â€œHands have no tears to flow.â€ And Death Shall Have No Dominion expresses the triumph of the human spirit over death. â€œThough lovers be lost love shall not.â€ Do Not Go Gentle into that Good Night represents the fight against death. â€œRage, rage against the dying of the light.â€ 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 â€œThough they sink through the sea, they shall rise againâ€ and â€œWild men, who caught and sang the sun in flightâ€¦â€ Near the end of the last song, the poet addresses his deceased father: â€œAnd you, my father, there on the sad height...â€ 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 â€œperched atopâ€ 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 â€œRage, rage against the dying of the light.â€ The final chords are dissonant, marked â€œwith determination and triumph.â€ Duration: 10:10.
$12.00 10.88 € #Gwyneth W #The Dying of the Light : Musical Settings of the Poetry of Dylan Thomas #E. C. Schirmer Music Company - Digital #SheetMusicPlus

Instrumental Duet,Piano B-Flat Clarinet,Cello,Instrumental Duet,Piano - Level 4 - Digital Download SKU: A0.1284511 Composed by Spiritual. Arranged by Maria Thompson Corley. 21st Century,Chamber,Sacred,Spiritual,Traditional. 9 pages. Maria Thompson Corley #875686. Published by Maria Thompson Corley (A0.1284511). â€œCrossing Jordanâ€ grew out of my daughter Kianaâ€™s surprise request that I arrange a spiritual for voice, piano and cello for her senior recital. She received a degree in commercial music the year before COVID shut everything down, at a time before climate change made blizzards an anomaly here in Central PA. As a result, snow days still existed. I spent one of them doing the first draft of â€œDeep River,â€ her favorite.Later, I decided that if singers engage a cellist for a concert, they might like to program more than one piece for them, so I chose two more water-themed spirituals to complete the set. â€œHis Name So Sweetâ€ is a more meditative version of the song than Iâ€™ve generally heard. I wanted the piano, cello, and briefly the voice to imitate the fountain in the text. The mood is ecstasy, resulting from the fundamental change that baptism is meant to create. â€œDeep Riverâ€ also includes â€œMichael Row The Boat Ashoreâ€ and â€œThe Water Is Wide.â€ The latter isnâ€™t a spiritual, however, taken together the message is that the river is deep, the water is wide, but with (the Archangel?) Michaelâ€™s help, Jordan can be crossed. â€œWade in the Waterâ€ is one of the most well-known spirituals. I focus on the idea of escaping enslavement: the opening is quiet, furtive, maybe even nervous. The Moses in the text can be understood to be Harriet Tubman, who might urge escapees to wade in the water so pursuing dogs couldnâ€™t follow their scent. In my mind, the ending symbolizes that the party has vanished, never to be enslaved again.The first instrumental version of â€œDeep Riverâ€ was for trumpet and piano, performed by my sister, Alicia Thompson, and her son, Justin Griffin, during a church service in Atlanta shortly after I arranged it. After hearing a recording, I took borrowed her idea of adding a repeat (which she did to allow enough time for the ushers to take up collection). The clarinet, cello and piano version was premiered by the Isosceles Trio (Doris Hall-Gulati (clarinet), Sara Male (cello), and me (piano)).