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CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
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Life With God
Non classifié
313
Piano & claviers
Piano seul
82
Piano, Voix et Guitare
66
Piano, Voix
60
Orgue
15
Piano Facile
13
Instruments en Do
13
Piano Trio: piano, violon, violoncelle
4
Accompagnement Piano
2
2 Pianos, 4 mains
2
1 Piano, 4 mains
2
Piano Quatuor: piano, violon, alto, violoncelle
1
+ 6 instrumentations
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Guitares
Guitare notes et tablatures
3
Basse electrique
3
Ligne De Mélodie, (Paroles) et Accords
2
Guitare
1
Voix
Chorale SATB
236
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28
Chorale Unison
25
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17
Chorale TTBB
11
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4
Voix duo
3
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3
Voix Alto, Piano
3
Voix Soprano, Piano
2
Voix Baryton, Piano
2
Voix basse, Piano
2
Voix seule
2
Voix Tenor
1
Voix moyenne, Piano
1
Chorale SSAA
1
Chorale
1
+ 12 instrumentations
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Vents
Quintette de Saxophone: 5 saxophones
53
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
50
Flûte traversière et Piano
18
Clarinette et Piano
13
Saxophone Tenor et Piano
9
Quatuor de Saxophones: 4 saxophones
7
Flûte, Hautbois, Clarinette, Basson
7
Hautbois, Piano (duo)
7
2 Saxophones (duo)
6
Ensemble de Clarinettes
5
Saxophone Alto et Piano
5
2 Clarinettes (duo)
4
Quintette de Flûte : 5 flûtes
4
Saxophone Baryton, Piano
4
Saxophone Soprano et Piano
4
Quatuor de Clarinettes: 4 clarinettes
4
Flûte traversière
4
Clarinette, Guitare (duo)
3
Ensemble de saxophones
3
Quatuor de Flûtes : 4 flûtes
3
Flûte à bec Soprano
2
Flûte, Clarinette (duo)
2
Saxophone Tenor
2
2 Flûte à bec (duo)
2
Clarinette
2
Flûte, Hautbois (duo)
2
Hautbois
2
2 Flûtes traversières (duo)
2
Saxophone Alto
2
Flûte et Guitare
2
Hautbois, Clarinette (duo)
2
2 Hautbois (duo)
2
5 Flûtes à bec
2
Cor anglais, Piano
1
Quintette de Clarinettes: 5 clarinettes
1
Saxophone et Guitare
1
Cor anglais, Guitare (duo)
1
Clarinette Basse, Piano
1
Hautbois, Guitare (duo)
1
Ensemble de Flûtes
1
Hautbois (partie séparée)
1
+ 36 instrumentations
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Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba
23
Trombone et Piano
8
Trompette
7
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
6
Ensemble de Trompettes
5
Cor et Piano
4
Tuba
4
Ensemble de Trombones
4
Trompette, Piano
3
2 Tubas (duo)
3
Tuba et Piano
3
Trompette, Trombone (duo)
2
Trombone
2
2 Trombones (duo)
2
Quatuor de cuivres: 4 trombones
2
Cor
2
Trompette, Cor (duo)
2
Ensemble de Cors
2
2 Trompettes (duo)
2
2 Cors (duo)
2
Cor anglais, Piano
1
Quatuor de Cuivres
1
Cor anglais, Guitare (duo)
1
Trombone basse
1
Quatuor de cuivres: 4 cors
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Euphonium, Piano (duo)
1
+ 22 instrumentations
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Cordes
Violon et Piano
16
Violoncelle, Piano
11
Quatuor à cordes: 2 violons, alto, violoncelle
10
Alto, Piano
8
Quintette à cordes: 2 violons, alto, violoncelle, basse
6
2 Violons (duo)
5
Violon
5
Ensemble d'Altos
4
Harpe, Voix
4
Ensemble de Violons
4
Violon, Violoncelle (duo)
4
2 Violoncelles (duo)
3
Harpe
3
Violon, Alto (duo)
3
Alto seul
3
Violoncelle
3
2 Altos (duo)
2
2 Contrebasses (duo)
2
Violoncelle , Guitare (duo)
1
Violon, Guitare (duo)
1
Trio à Cordes: violon, alto, violoncelle
1
4 Violoncelles
1
Contrebasse, Piano (duo)
1
Violon, Clarinette, Piano (trio)
1
+ 19 instrumentations
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Orchestre
17
Cloches
14
Orchestre d'harmonie
14
Orchestre de chambre
5
Batterie
4
Ensemble de cuivres
2
Jazz combo
2
Ensemble Jazz
2
Fanfare
1
Ensemble de Percussions
1
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--INSTRUMENTS--
ACCORDEON
ALTO
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BANJO
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Vous avez sélectionné:
Life With God
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A New Theology, Edward Hirsch, poem. (Often paired with "The Sweetness."
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Voix haute
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INTERMÉDIAIRE/AVANCÉ
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Mary Ann Joyce
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A New Theology, Edward Hirsch,
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Mary Ann Joyce-Walter
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SheetMusicPlus
High Voice,Vocal Solo - Level 4 - SKU: A0.989239 Composed by Mary Ann Joyce. Concert,Contemporary,Holiday. 5 pages. Mary Ann Joyce-Walter #6209129. Publ...
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High Voice,Vocal Solo - Level 4 - SKU: A0.989239 Composed by Mary Ann Joyce. Concert,Contemporary,Holiday. 5 pages. Mary Ann Joyce-Walter #6209129. Published by Mary Ann Joyce-Walter (A0.989239). A New Theology, Edward Hirsch,poem. God looks at Adam and Eve in the Garden of Paradise and....He couldn't bear their happiness when he saw them laughing together, eating pomegranates, and celebrating life.... The poet decides that thewhole shebang about the apple and the serpent was a set up because God couldn't stand being alone with his own creation....exactly like us, love. Exactly like us. A humorous, but serious poem and musical setting.
$4.99
The Unquiet Grave from American Death Ballads (Downloadable)
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Voix haute
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David Conte
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The Unquiet Grave from America
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
High voice and piano - Moderately Difficult - SKU: MQ.8454-2E Composed by David Conte. Secular, 21st century. Instrument part. 6 pages. E. C. Schirmer M...
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High voice and piano - Moderately Difficult - SKU: MQ.8454-2E Composed by David Conte. Secular, 21st century. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8454-2E. Published by E. C. Schirmer Music Company - Digital (MQ.8454-2E). English.American Death Ballads was composed especially for tenor Brian Thorsett. We have been frequent collaborators since 2011, when he premiered the complete set of my Three Settings of W. B. Yeats for string quartet and tenor. At his urging, I transcribed and published my Three Poems of Christina Rossetti (originally for medium voice) for high voice, which he premiered at the San Francisco Conservatory in 2014. American Death Ballads was premiered by him at the San Francisco Conservatory, November 1, 2015, with pianist John Churchwell, and at the National Association of Teachers of Singing (NATS) Conference in Chicago, July 10, 2016, with pianist Warren Jones.The choice of texts for my American Death Ballads was inspired partly by Copland’s Old American Songs, which I deeply admire, but more by my dear friend and colleague the late Conrad Susa’s Two Murder Ballads. The ingenuity of Susa’s accompaniments for his ballads in imagining anew the original source material owes a great deal to Copland’s accompaniment for his songs. Though the content of my songs is completely original and not based on preexisting melodies, I have tried to expand on this further, as the texts are much longer, and go through many different moods and characters. The four texts I chose include stories about murder, death, and dying. Though two of the texts were written in England, they traveled to the colonies almost immediately. The subjects of the texts had spent time in America, and their stories were well known to Americans.Wicked Polly is a cautionary tale. Polly has lived a dissolute and immoral life, saying, 'I'll turn to God when I grow old.' Suddenly taken ill, she realizes that it is too late to repent. She dies in agony and is presumably sent to hell; young people are advised to heed. My musical setting is stately and preacherly in character for the narrator; for Polly it becomes pleading and remorseful. The Unquiet Grave was brought to the attention of Alan Lomax, the great American field collector of folk music, by English folk singer Shirley Collins. The text is taken from an English folk song dating from 1400. In The Unquiet Grave, a young man mourns his dead lover too fervently and prevents her from obtaining peace. The dead woman complains that his weeping is keeping her from peaceful rest. He begs a kiss; she tells him it would kill him. When he persists, wanting to join her in death, she explains that once they were both dead their hearts would simply decay, and that he should enjoy life while he has it. My setting is in a flowing Andante with a rocking accompaniment. Three voices are delineated here: the narrator, the mournful lover, and the dead lover speaking from the grave. The Dying Californian first appeared in the New England Diadem in 1854. Its lyrics are based on a letter from a New Englander’s sailor to his brother who is dying at sea while on the way to California to seek his fortune in the California gold fields. He implores his brother to impart his message to his father, mother, wife, and children. My setting opens with the singer alone in a moderate dirge tempo, then, joined by the piano, moves through many tonalities and moods before ending with supreme confidence as the speaker 'gained a port called Heaven/Where the gold will never rust.'Captain Kidd was a Scottish sailor who was tried and executed for piracy and murder in 1701. The American connection to this ballad is that Kidd escaped to America and for a time lived in New York and Boston, though he was a wanted criminal by the British authorities and was extradited to Britain, where he was hung at 'Executioner’s Dock.' The lyric was printed in Britain in 1701, traveling to the colonies almost immediately. Though the didactic tone of the text is similar to Wicked Polly, it expresses no regret until the final lines: 'Take warning now by me, and shun bad company, / Lest you come to hell with me, for I must die.' My setting is fast and spirited, expressing the confidence of a man who lived life as he wanted. -David Conte.
$3.50
The Lamb (William Blake) — high voice (soprano / tenor), keyboard accompaniment
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Voix haute
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FACILE
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the stream and o'er the mead;<
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Todd Marchand
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The Lamb
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Con Spirito Music
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SheetMusicPlus
High Voice,Vocal Solo - Level 2 - SKU: A0.1141419 Composed by Todd Marchand. Christian,Christmas,Religious,Sacred. 5 pages. Con Spirito Music #741745. P...
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High Voice,Vocal Solo - Level 2 - SKU: A0.1141419 Composed by Todd Marchand. Christian,Christmas,Religious,Sacred. 5 pages. Con Spirito Music #741745. Published by Con Spirito Music (A0.1141419). William Blake (1757-1827), a seminal figure in the history of the poetry and visual art of the Romantic Age, published the lyric poem The Lamb in his collection, Songs of Innocence, in 1789.The Lamb is presented as from the viewpoint of, and in the voice of, a child. In the first stanza, the child asks the lamb if it knows its Creator; in the second, it tells the creature, by means of metaphor, that its Creator is the Lord Jesus Christ, who like the lamb took on the flesh of a created being, “little,†“meek,†and “mild.†The child declares that he/she shares with the creature the name of the One who is, in Christian belief, both the sacrificial Lamb and the Shepherd of his flock. Finally, the child pronounces a benediction: “Little lamb, God bless thee!â€This new setting of The Lamb for voice and keyboard accompaniment is intended to evoke the simplicity of the text, and therefore should be performed simply yet expressively, with subtle rubato (flexibility in tempo) to give emphasis to the text.Little lamb, who made thee? / Dost thou know who made thee,Gave thee life, and bid thee feed / By the stream and o'er the mead;Gave thee clothing of delight, / Softest clothing, woolly, bright;Gave thee such a tender voice, / Making all the vales rejoice?Little lamb, who made thee? / Dost thou know who made thee?Little lamb, I'll tell thee; / Little lamb, I'll tell thee:He is called by thy name, / For He calls Himself a Lamb.He is meek, and He is mild, / He became a little child.I a child, and thou a lamb, / We are called by His name.Little lamb, God bless thee! / Little lamb, God bless thee!Soprano range C4-G5; Tenor range C3-G4©Copyright 2022 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. Visit www.conspiritomusic.com
$4.99
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Life With God
